When You're Strange (2010) Review

Title: When You're Strange 
Year: 2010
Director: Tom Dicilo
Country: US
Language: English

Ray Manzarek, keyboardist of The Doors, was excited when he heard that Tom Dicilo (Delirious) would be directing a documentary film about his former band. He stated "This will be the true story of the Doors," and that the film will be "the anti-Oliver Stone," referring to Stone's 1991 film that left a sour taste in surviving members' mouths. Door guitarist Robby Krieger watched the film and decided that it was the definitive version of The Doors' story. 

This is a look at the late '60s and early '70s rock band The Doors, specifically Jim Morrison, and includes rare exclusive footage.

When You're Strange is a mixed bag for me; on one hand it must be praised for using footage of The Doors that most fans have never seen & it also must be commended for sticking to a more historically accurate account of the time period. On another hand the narration by Johnny Depp is atrocious; his flat monotone voice, which I guess is supposed to add a layer of "weird" to the story, nearly put me to sleep. The script he was given is equally bad; much of the time he makes pointless obvious observations that add no real value to the images playing onscreen. 

The film rejects any modern day interviews of living band members which would have given more context to the events that unfolded. Granted, When You're Strange, isn't about anybody else in the band, just Jim Morrison. It's entire goal is to romanticize the alcoholic who died too young from drinking too much alcohol.

I find it strange how we make icons out of boozing bozos (even though I do like his music), "for some he was a poet" and therefore I like Oliver Stone's The Doors the best as it presents Jim Morrison as a raging unstable asshole. When You're Strange is somewhat worthwhile for unique "behind the scenes" footage, but I can't give a high recommendation because the narration is more boring than watching paint dry. 

Jim & Andy: The Great Beyond (2017) Review

Title: Jim & Andy
Year: 2017
Director: Chris Smith
Country: US
Language: English

For many years Memphis Wrestler Jerry "The King" Lawler had claimed Jim Carrey was extremely difficult to work with on the set of Man on the Moon, a bio-pic about the controversial comedian Andy Kaufman. He claimed that Carrey was too far in-character, making the rest of the cast, including Amadeus director Milos Forman, refer to him as "Andy". This picture, Jim & Andy finally gives us a glimpse of what Lawler has been talking about.

The picture is behind-the-scenes look at how Jim Carrey adopted the persona of idiosyncratic comedian Andy Kaufman on the set of Man on the Moon (1999).

The main reason we had not seen the footage before, as Carrey claims, is that Universal demanded that the footage be buried because they were worried the famed performer would look "like an asshole". Jim Carrey being the only interview subject in the film is a bit suspicious, as questions of a reliable narrator come to the forefront (why don't fellow actors also confirm the comedian's on-set behavior?), but he is forthcoming and seemingly transparent enough to make the picture more interesting. 

Director Chris Smith weaves footage comparing Andy & Carrey's emergence into comedy, suggesting that their careers had many parallels. Carrey philosophizes in front of the camera, pondering his pain and loss of emotional compass. 

Part of Carrey's "transformation into Kaufman" is confusing though, as if maybe he didn't entirely "know" Kaufman before he pretended to be him. Andy's feud with Lawler was fake, they were good friends in real life and orchestrated their most controversial moments, but on-set Carrey was really rude to the Memphis star. 

My criticism with Jim & Andy is that Jim Carrey only really "knows" Andy Kaufman through his public persona. The film is about his art & his artistry, but not really about Andy himself. It's as if 20 years from now somebody made a documentary about acting like Jim Carrey, but only had the crazy "alrighty then!" shtick down. Andy, off camera, was known to be quiet and shy. He was dedication to spiritual healing, he had real fears and doubts, he had a great love for weird television. 

Thus the film isn't really about Kaufman, but our perception of Kaufman. It's about how Kaufman's act influences generations of artists. Jim & Andy: The Great Beyond is a fairly entertaining movie that will give you an insight into Jim Carrey's mind, but it doesn't transcend what we already think we know about Kaufman's persona. 

Earth vs.The Flying Saucers (1956) Review

Title: Earth vs. The Flying Saucers
Year: 1956
Director: Fred Sears
Country: US
Language: English

Earth vs. The Flying Saucers is a fun science fiction feature from Columbia Pictures. When released in theatres it would be part of a double feature alongside The Werewolf. This film was based on the best selling non-fiction book Flying Saucers From Outer Space by Maj. Donald Keyhoe. Critically the picture has reached an iconic status as part of the great 50's "flying saucer" subgenres that swept audiences at the time. 

Extraterrestrials traveling in high-tech flying saucers contact scientist Dr. Russell Marvin (Hugh Marlowe) as part of a plan to enslave the inhabitants of Earth.

The special effects were ingeniously created by stop-motion legend Ray Harryhausen. Though the effects may seem primitive today, many film critics at the time of its release were absolutely mesmerized. Variety said "The technical effects created by Ray Harryhausen come off excellently in the Charles H. Schneer production, adding the required out-of-this-world visual touch to the screenplay."

The film is not all visual gimmicks however; as this underrated gem still has a coherent plot, written primarily by screenwriter George Worthing. Purposely choosing many familiar B-movie motifs and themes, the film-makers seem unafraid of exposing the picture's low budget or lack of star-power. Everything we know and love about 50's science fiction is here; Earth vs. The Flying Saucers is charming because it doesn't take itself too seriously. 

It may not have much in the way of substance, don't watch this for any Marlon Brando-esque performances, but the film does offer some great entertainment. This is far better than any spaceman movie you'll see today, primarily because of its cheese. 

An American in Paris (1951) Review

Title: An American in Paris

Year: 1961

Director: Vincente Minnelli
Country: US
Language: English

When Singin' in the Rain (1952) hit theatres it was met with critical and commercial success, but shockingly did not receive any nominations at the Academy Awards. Film critics would later assume that it is due to the long looming shadow of American in Paris, Gene Kelly's vehicle that would win Best Picture (among other nominations) a year before. Was this picture deserving of such an award? Lets find out!

Three friends (Gene Kelly, Leslie Caron & Oscar Levant) struggle to find work in Paris. Things become more complicated when two of them fall in love with the same woman.

An American in Paris is a cute simplistic love story at heart directed by husband of Judy Garland and father of Liza Minnelli, Vincente Minnelli. It's quite quite an enjoyable film filled with lavish sets, brilliantly choreographed dance sequences, comedic interludes and grand music. The performances of the three main actors are remarkable; Gene Kelly is at his peak career-wise, he should have won an Oscar for his performance. 

The story, which is well written and fun to sit through, is used primarily to transition from one meaningful song to the next. The score is fairly hard to forget; proving its worth among the best Hollywood has to offer. The agile footwork and intense rhythm of the choreography is a sight to behold. The extravagant climactic super ballet of the film is quite breathtaking.

Unfortunately An American Paris is a bit more aged compared to films like Singin' in the Rain, primarily due to poorly written characters who are meant to dance more than have any real personality. The picture is much more style than substance; although if we're meant to be purely entertained by Kelly's vehicle then it succeeds greatly. 

And Then There Were None (1945) Review

Title: And Then There Were None
Year: 1945
Director: Rene Clair
Country: US
Language: English

And Then There Were None was originally based on an Agatha Christie novel which was more offensively titled in the UK (Ten Little N***ers). It's a thrilling mystery wherin isolated strangers are murdered one by one. It is said to have followed the nursery rhyme "Ten Little Indians". The concept of the story has been reused, recycled, adapted and reworked countless times, but this film is actually more intriguing than the others. 

Seven guests, a newly hired personal secretary and two staff are gathered on an isolated island by an absent host and someone begins killing them off one by one. They work together to determine who is the killer.

And Then There Were None is one of the earliest vigilante-themed movies, shrouded by a clever murder mystery that pits the apprehensive minds of untrusting strangers against each other. The paranoia, suspicion and dread throughout the film create a wonderfully eerie atmosphere that grabs the audience and leaves them on the edge of their seat. Few mysteries are as alluring as this picture is. 

Uneasy alliances are formed and dissolved and uncertainty remains undiminished. As the film progresses and qualms shift, it becomes quite difficult to determine who the real killer is, especially as the most likely suspects die. The black and white photography lends itself well to the oppressiveness, the acting is remarkable, and the score is terribly unsettling. Effective camera-work leads to unusual angles that increase the anxiety of the viewer. 

Rene Clair made many great films throughout his lifetime. I was surprised to not have heard of this picture despite it being one of the greatest mystery/detective films of the 1940's. It's a deliberately paced picture that proves its worth as it draws closer to a satisfying-and shocking- conclusion. 

All Quiet on the Western Front (1930) Review

Title: All Quiet on the Western Front
Year: 1930
Director: Lewis Milestone
Country: US
Language: English

Although All Quiet on the Western Front claims not to be specifically anti-war, it’s difficult not to compare the bitter, realistic take on disillusionment with death and warfare against the fast-paced, high-octane endeavors of John Wayne in his equivalent of a "war film". This is not a patriotic action flick where we identify- and want to be- the main protagonist. This is hell & we are glad to have not participated.

A young soldier (Lew Ayres) faces profound disillusionment in the soul-destroying horror of World War I.

The front is full of terror; from the claustrophobic nature of the trenches to misery of continual shelling & the desperation for food when there is lack thereof. Several men can’t take the psychological stresses, often committing suicide via enemy bullet-fire rather than being buried alive in their dugouts. For 1930 there is a shocking amount of violence; the realistic atmosphere of dread and death make this quite a unique picture. 

As the film works to unveil the tragedies of war, it proves to be even more remarkable by not choosing sides. Rather we are all, regardless of nationality, victims of a cruel and unusual war. The fear of  parents, who realize that their sons are going off to their deaths, is an idea that can be understood by all. Nearly every aspect of warfare is covered here, from cowardice to sacrifice. It it a commendable picture. 

Some moments come off as heavy handed and borderline preachy, especially when the anti-war dialogue becomes a bit repetitious, but ultimately it is a very important film that doesn't feel dated despite being over 80 years old. All Quite in the Western Front is remarkable; truly worthy of being "Best Picture" for that year. 

Cimarron (1931) Review

Title: Cimarron
Year: 1931
Director: Wesley Ruggles
Country: US
Language: English

Cimarron is an early 30's Pre-Code Western picture directed by Wesley Ruggles. Based on the novel Cimarron by Edna Ferber, the film adaptation would be RKO's most expensive production to date. It would win "Best Picture" at the Academy awards, being one of two "Best Picture" winners that the studio would produce. It is also one of the few Westerns to ever receive that honour. 

A newspaper editor (Richard Dix) settles in an Oklahoma boom town with his reluctant wife (Irene Dunne) at the end of the nineteenth century.

RKO Radio Pictures premiered Cimarron at the RKO Palace Theatre in New York to much acclaim. Soon after it would sweep the nation and receive great critical success, but unfortunately the extremely high budget and ongoing depression made the picture not as financially successful as it could have been. Nowadays Cimarron is fairly dated; very few people can understand why the film won over Chaplin's City Lights.  

Filled with racism, sexism, and many politically incorrect notions that tend to frequent early historical epics, Cimarron is quite dated with how it depicts First Nations peoples. The picture does have a good heart however, as it at least makes an attempt to condemn the mockery of minorities. The slow meandering pace and uninspired narrative make it hard to sit through this 2hr epic, but the acting is above average & the set-pieces, costuming and cinematography really do give Cimarron an epic feel. 

Cimarron is an extravaganza, but there are a vast number of "epics" that have aged better than this. The soundtrack isn't the most satisfying and the dialogue, although may have been lost due to time or have been a victim of its time, seems to have been poorly recorded. It's fun in moments, but overall I found myself bored halfway through. 

The Broadway Melody (1929) Review

Title: The Broadway Melody
Year: 1929
Director: Harry Beaumont
Country: US
Language: English

The Broadway Melody (1929) is primarily known for its historical significance, winning the 1929 Academy Award for Best Picture and considered the first all-talking musical (and the first released by MGM, coincidentally competing against The Hollywood Revue of 1929) It would establish a formula for future musicals which would gladly mimic the formula if it meant a great amount of revenue in their pockets.

A pair of sisters (Bessie Love & Anita Page) from the vaudeville circuit try to make it big time on Broadway, but matters of the heart complicate the attempt.

The story is fairly primitive as its been told hundreds of times throughout the history of Cinema. I have no doubt audiences probably had already seen dozens of similar films by 1929. It is ultimately designed to string together singing and dancing performances, but despite the noble attempt at structure the music still feels like it comes out of nowhere as the songs are almost blurted out by the actors without rhyme or reason. 

Granted, I must consider the time in which The Broadway Melody was made. This was the very beginning of the sound era & thus many limitations had to be overcome. Despite the song randomness I must admit the long shots of dance sequences, great art and set decoration and of course great costumes are astonishing. Sporadic editing techniques and bright lighting also add to an overall grand feeling. 

The acting is far from great however and the static nature of the camera is ultimately disappointing. The film has its charm though and the classic nature of the songs sung is certainly memorable. It's hard to rate this film fairly as its a victim of its time; much of the aspects I am critical of are mainly due to the limitations at the time. Certainly worth a view for curiosity's sake. 

It (1927) Review

Title: It
Year: 1927
Director: Clarence Badger
Country: US
Language: English

By 1927 Clara Bow's career was reaching new heights after years of toiling in supporting roles that kept her in relative obscurity. The previous year she starred in the hit Mantrap, which would lead to being in the first "Best Picture" Academy Award winner Wings. This film It was made in the hope that it would cement her legacy as Hollywood's "It" girl at the time. The film isn't pefect, but it would prove great for Bow. 

A salesgirl (Clara Bow) with plenty of "it" (sex appeal) pursues a handsome playboy (Antonio Moreno).

This movie has become synonymous with her career and movie star image. So much so, that even today she is remembered primarily as 'The It Girl'. She was the last sex icon of the silent era and represented the best of the Flapper/Jazz age. Based on Elinor Glyn’s story the film is a fun lighthearted quintessential comedy that is filled to the brim with rom-com goodness which unfortunately has become cliche with overuse in Cinema.

Paramount paid Glyn a fortune for the rights to It and then promptly chucked out most of the story. Unfortunately this means the writing suffers from lack of originality, as the plot is usual for studio romantic comedies of this era. If you've seen any two shopgirl flicks from this era then you've pretty much seen them all. Director Clarence Badger put all his cards on his star Clara Bow. Thankfully her performance alone is enough to make this picture memorable. 

Thanks to Clara Bow, who may have been the most enigmatic actress of the silent era, It is an easily digestable film that not only deserves to be viewed positively, but ought to be viewed more than once. A time capsule of past relationships, you owe it to yourself to watch this one. 

The Undying Monster (1942) Review

Title: The Undying Monster
Year: 1942
Director: John Brahms
Country: US
Language: English

The Undying Monster is based on a novel by Jessie Douglas Kerruish, who seems to have only written two known novels of which this is the most well received. Director John Brahms, who was best loved for his decadently decorated murder mysteries, The Lodger (1944) and Hangover Square (1945) read the original source material and decided it must be shown on the silver screen. It is a literal and metaphorical tale similar to Cat People, released the same year.

Surviving members of an aristocratic English family are threatened by a legendary monster when they venture out on chilly, foggy nights.

The Undying Monster attempts to do far too much in its mere 63 minute run-time. It jumps from being a haunted house picture to being a monster flick to being a Sherlock Holmes-esque mystery. The rushed nature of the narrative also extends to the actors as they seem to endlessly run from place to place, the camera barely being able to catch up with them. If the film was an hour longer or slowed down then perhaps it would have worked overall.


That's not to say all is bad; Lucien Ballard’s cinematography plays up the shadows creeping into every corner and the smokey fireplaces hiding everyone’s true intentions. Beautiful shot compositions almost make up for the clunky narrative that makes each character lack any measure of depth. Unfortunately there isn't a character one can cling to; even the detective is a bit too much of a misogynistic jerk to be likeable.


The actual mystery is not the least bit suspenseful mainly due to the spastic nature of the narrative. Characters come and go as the actual conclusion is a bit clunky and doesn't entirely make sense. It has a good atmosphere, but ultimately I'd go for many other horror films from this period before I revisit this.

A Face in the Crowd (1957) Review

Title: A Face in the Crowd
Year: 1957
Director: Elia Kazan
Country: US
Language: English

Many critics and cinephiles feel that the late 50's Elia Kazan flick A Face in the Crowd is more relevant than ever due to the rise of Donald Trump. Like the main character, Lonesome Rhodes, Trump was a reality TV star known for his gimmicky catchphrases and a poverty line audience that regards him as a "straight shooter", even as he looks down on them from his penthouse. He's the guy who pretends to be against the elite, even though he is the elite. 

A Face in the Crowd charts the rise of a raucous hayseed named Lonesome Rhodes (Andy Griffith) from itinerant Ozark guitar picker to local media rabble-rouser to TV superstar and political king-maker. 

The Director himself has claimed the film "anticipates Ronald Reagan", a Hollywood movie star of the 1950's who became the 40th US president in the 1980's. A Face in the Crowd isn't explicitly a picture about any particular political figure however; like Network (1976) it is primarily a darkly comic satire about the corrosive influence of celebrity and mass media—particularly television—on public opinion.

A Face in the Crowd has a consistent high frenetic energy that is due to pacing, editing and the insurmountable quick pace of Andy Griffith. Never have I seen an actor put such constant chaotic excitement into his character. The cinematography holds some very memorable images, although I'd say some of the camera's framing make Griffith's character a little too cartoon-ish. Extreme close-ups of Griffith's face make his look feel right at home in the Batman universe.

Though it received mixed reviews when it first hit cinemas, overtime Kazan's picture has become quite favored among those willing to find it. Despite its cynical nature, A Face in the Crowd is a fun film to watch and doesn't feel as dated as a film from the 50's should be. 

I Called Him Morgan (2017) Review

Title: I Called Him Morgan
Year: 2017
Director: Kasper Collin
Country: US
Language: English

While La La Land may have been the most critically acclaimed musical in 2016, winning a Best Director Oscar (among other awards) for Damien Chazelle, it white-washed the mighty subject of Jazz. Long awaited biopics of Miles Davis and Chet Baker also appeared in theatres, but went unnoticed. Netflix's documentary I Called Him Morgan seems to have hit the right notes, coming closer to Jazz history than Ryan Gosling's venture.

The film is an exploration of the relationship between jazz trumpeter Lee Morgan and his common-law wife Helen, who was implicated in his murder in 1972.

Virtually everything about the great trumpeter Lee Morgan was prodigious. Even in his late teens he was working with Dizzie Gillespie's orchestra. Overflowing with confidence, at first the man seemed to have all a young man would want, yet a heroine addiction would bring about his fall from grace. At his lowest he would meet the woman who would become his wife, and this relationship is primarily what the film is about. 

Focusing equally on Lee Morgan and his wife Helen Moore, part of the film tells the story through witnesses and friends of the couple, while the other part is a real-life interview recorded on a scratchy cassette tape. It gives you a real sense of the era and the events of the time, making its audience feel as if they had lived through the 60's with the subjects. 

 The occasional visual flourish - some vintage photography - is used tastefully and gives the film more of a poetic atmosphere. I Called Him Morgan evokes the frenetic energy of Jazz music in a way that most Hollywood films have failed to do. 

Jabberwocky (1977) Review

Title: Jabberwocky
Year: 1977
Director: Terry Gilliam
Country: UK
Language: English

Jabberwocky was not the first film Terry Gilliam directed, that would be Monty Python and the Holy Grail alongside fellow Pythonian Terry Jones, but it was his first solo venture. In some countries promoters were confused and billed the film as Monty Python's Jabberwocky against Gilliam's wishes. Once he threatened legal action all Python references were removed from subsequent reissues. 

A young peasant (Michael Palin), with no interest in adventure or fortune, is mistaken as the kingdom's only hope when a horrible monster threatens the countryside.

The budget for Jabberwocky was ridiculously small; according to the DVD commentary it was so small that they could only afford one corridor. Many scenes were also shot in a single shoot because they couldn't afford retakes and they borrowed much of the medieval costumes from Gilliam's previous picture Monty Python and the Holy Grail. Its shoestring budget brought about mixed critical reception, though it would guarantee the film made its budget back. 

Jabberwocky is a bit of a mixed bag of comedy. At times the zany demented British humour makes for quite a laugh. I particularly liked the scene in which the princess in the castle mistakes the foolish peasant for a noble prince. Granted, during other times the pacing slows to a crawl and you feeling like yelling at the screen for the scene to be over. It has a great amount of imagination, but ultimately comes off as Monty Python lite. 

Terry Gilliam would make far greater pictures within the same vein of comedy he was going for, certainly Life of Brian (1979) and Brazil (1985) instantly come to mind. That's not to say this film is a waste of time, there is certainly a decent amount of memorable scenes, but this isn't a "must see" within his own filmography. Watch it after you've watched everything else he has to offer. 

Equinox (1970) Review

Title: Equinox
Year: 1970
Director: Jack Woods
Country: US
Language: English

The 60's & 70's brought about filmmakers who had seen the pictures of yesteryear and wanted to break all the sacred rules of film-making. Americans Dennis Muren, Mark McGee, and David Allen were as rabid in their love of the Cinema as many of their European counterparts were at the time, although they were inspired by Monster Movies like King Kong (1933)  rather than emotional dramas like Nicholas Ray's Rebel Without A Cause (1955). Their fandom would inspire themselves to create their own monster movie, albeit on a far more minuscule budget. 

Four friends are attacked by a demon while on a picnic, due to possession of a tome of mystic information. Told in flashbacks by the sole survivor.

Equinox was made on a miniscule budget of $6,500 & gained a reputation as a midnight movie during its theatrical run. Influenced by the work of Ray Harryhausen, the technical master of Jason and the Argonauts would give great praise for the film's exquisite use of makeup and practical effects. This picture was said to have inspired Evil Dead. Although that cannot be 100% confirmed there are many striking similarities between both pictures. 

Equinox's economical yet sophisticated use of stop-motion and cell animation is the main reason it is still admired and studied today. There is some lack of refinement, no doubt this looks primitive by today's standards, but ultimately the effects are important because they add to a fairly odd yet engaging story. The acting both adds and takes away from the film. At times the over-the-top ham by the leads is distracting, but during other times it adds to the charm of this memorable B-flick.

If you're looking for a Creature Feature and have seen everything The Golden Age of Hollywood has to offer then I certainly recommend this one. Even if it seems silly by the standards of today, I guarantee that it will be entertaining at the very least. 

Carnival of Souls (1962) Review

Title: Carnival of Souls
Year: 1962
Director: Herk Harvey
Country: US
Language: English

Carnival of Souls was shot in three weeks for about $30,000: one week at Saltair, an abandoned amusement park, and two weeks in Lawrence, Kansas, where the filmmakers—who never had or would make another feature—were based. The film went largely unnoticed by critics upon its release, though would receive far more acclaim a couple of decades later. It has since become regarded by many film schools as a classic; Roger Ebert claimed it was "like a lost episode of The Twilight Zone". 

After a traumatic accident, a woman (Candace Hilligloss) becomes drawn to a mysterious abandoned carnival.

Indeed Carnival of Souls certainly has the atmosphere of a creepy 1950's Twilight Zone episode. With its original organ score, by composer Gene Moore, the picture is quite eerie throughout its run-time. The disorienting dream sequences give this the feel of a silent German expressionist picture like Nosferatu (1922) or Cabinet of Dr. Caligari (1920). There is no doubt that what we are viewing was inspired by past art. 

The world that is encompassed by the camera appears both normal and somehow wrong. The surreal camera-work takes on on a journey that is both poetic and haunting. Admittedly the acting is a bit hammed up and the editing could be better, but what they have done with a paper-thin budget is impressive. Carnival of Souls transcends its budget limitations and gives us a unique story that will have new audiences thinking about the picture for plenty more years. 

Fans of cult, surrealist, art and horror films will likely be impressed. I enjoyed the fact that I could be creeped out by a picture despite it not using any blood or gore. Carnival of Souls deserves its newfound reputation.