Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with Jesus Loves the Little Children. Jesus would state, “Truly I tell you, unless you change and become like little children, you will never enter the kingdom of heaven. Therefore, whoever takes the lowly position of this child is the greatest in the kingdom of heaven. And whoever welcomes one such child in my name welcomes me." There is no doubt that Jesus did love the little children and he loves us big children too. If we will humble ourselves and become like little children, the blessings he has for us are immeasurable.
This is followed by Ricky Skaggs with Gone Home. This recording comes from his 1999 gospel album, Soldier of the Cross.
Afterwards is Porter Wagoner and The Blackwood Brothers with If We Never Meet Again. The hymn was written by Albert E. Brumley, who wrote over 800 gospel songs. Some of his most famous I’ll Fly Away, Turn Your Radio On, I’ll Meet You In The Morning and He Set Me Free. This recording comes from their 1966 gospel album, The Grand Old Gospel.
Then comes Stringbean with Sinner Man, Where You Gonna Hide.
Next is The Sons of the Pioneers with their 1937 recording of Lord You Made the Cowboy Happy. This song should remind us of how blessed we truly are. It is the things we take for granted each day that are our greatest blessings. Sometimes we need to stop and simply thank God for these blessings. The narrator of this song is not thankful for any big event in his life, but rather for all the little blessing he receives every day.
Now comes Johnny Cash with his cover of the Sheryl Crow song, Redemption Day. John recorded this song during the last few months of his life. It would be released posthumously on the 2o10 album, Ain't No Grave.
Today's musical selection ends with Rex Allen with his 1970 recording of He's Got the Whole World in His Hand.
Now for the 24th episode of The Lone Ranger TV series.
Now for a message from Billy Graham.
Book of Titus
1 Paul, a servant of God and an apostle of Jesus Christ to further the faith of God’s elect and their knowledge of the truth that leads to godliness— 2 in the hope of eternal life, which God, who does not lie, promised before the beginning of time, 3 and which now at his appointed season he has brought to light through the preaching entrusted to me by the command of God our Savior,
4 To Titus, my true son in our common faith:
Grace and peace from God the Father and Christ Jesus our Savior.
Appointing Elders Who Love What Is Good
5 The reason I left you in Crete was that you might put in order what was left unfinished and appoint elders in every town, as I directed you. 6 An elder must be blameless, faithful to his wife, a man whose children believe and are not open to the charge of being wild and disobedient. 7 Since an overseer manages God’s household, he must be blameless—not overbearing, not quick-tempered, not given to drunkenness, not violent, not pursuing dishonest gain. 8 Rather, he must be hospitable, one who loves what is good, who is self-controlled, upright, holy and disciplined. 9 He must hold firmly to the trustworthy message as it has been taught, so that he can encourage others by sound doctrine and refute those who oppose it.
Rebuking Those Who Fail to Do Good
10 For there are many rebellious people, full of meaningless talk and deception, especially those of the circumcision group. 11 They must be silenced, because they are disrupting whole households by teaching things they ought not to teach—and that for the sake of dishonest gain. 12 One of Crete’s own prophets has said it: “Cretans are always liars, evil brutes, lazy gluttons.” 13 This saying is true. Therefore rebuke them sharply, so that they will be sound in the faith 14 and will pay no attention to Jewish myths or to the merely human commands of those who reject the truth. 15 To the pure, all things are pure, but to those who are corrupted and do not believe, nothing is pure. In fact, both their minds and consciences are corrupted. 16 They claim to know God, but by their actions they deny him. They are detestable, disobedient and unfit for doing anything good.
2 You, however, must teach what is appropriate to sound doctrine. 2 Teach the older men to be temperate, worthy of respect, self-controlled, and sound in faith, in love and in endurance.
3 Likewise, teach the older women to be reverent in the way they live, not to be slanderers or addicted to much wine, but to teach what is good. 4 Then they can urge the younger women to love their husbands and children, 5 to be self-controlled and pure, to be busy at home, to be kind, and to be subject to their husbands, so that no one will malign the word of God.
6 Similarly, encourage the young men to be self-controlled. 7 In everything set them an example by doing what is good. In your teaching show integrity, seriousness 8 and soundness of speech that cannot be condemned, so that those who oppose you may be ashamed because they have nothing bad to say about us.
9 Teach slaves to be subject to their masters in everything, to try to please them, not to talk back to them, 10 and not to steal from them, but to show that they can be fully trusted, so that in every way they will make the teaching about God our Savior attractive.
11 For the grace of God has appeared that offers salvation to all people. 12 It teaches us to say “No” to ungodliness and worldly passions, and to live self-controlled, upright and godly lives in this present age, 13 while we wait for the blessed hope—the appearing of the glory of our great God and Savior, Jesus Christ, 14 who gave himself for us to redeem us from all wickedness and to purify for himself a people that are his very own, eager to do what is good.
15 These, then, are the things you should teach. Encourage and rebuke with all authority. Do not let anyone despise you.
3 Remind the people to be subject to rulers and authorities, to be obedient, to be ready to do whatever is good, 2 to slander no one, to be peaceable and considerate, and always to be gentle toward everyone.
3 At one time we too were foolish, disobedient, deceived and enslaved by all kinds of passions and pleasures. We lived in malice and envy, being hated and hating one another. 4 But when the kindness and love of God our Savior appeared, 5 he saved us, not because of righteous things we had done, but because of his mercy. He saved us through the washing of rebirth and renewal by the Holy Spirit, 6 whom he poured out on us generously through Jesus Christ our Savior, 7 so that, having been justified by his grace, we might become heirs having the hope of eternal life. 8 This is a trustworthy saying. And I want you to stress these things, so that those who have trusted in God may be careful to devote themselves to doing what is good. These things are excellent and profitable for everyone.
9 But avoid foolish controversies and genealogies and arguments and quarrels about the law, because these are unprofitable and useless. 10 Warn a divisive person once, and then warn them a second time. After that, have nothing to do with them. 11 You may be sure that such people are warped and sinful; they are self-condemned.
Final Remarks
12 As soon as I send Artemas or Tychicus to you, do your best to come to me at Nicopolis, because I have decided to winter there. 13 Do everything you can to help Zenas the lawyer and Apollos on their way and see that they have everything they need. 14 Our people must learn to devote themselves to doing what is good, in order to provide for urgent needs and not live unproductive lives.
15 Everyone with me sends you greetings. Greet those who love us in the faith.
Grace be with you all.
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons.
Today's cartoon selection begins with Bugs Bunny in Bugsy and Mugsy (1957). This film was a semi-remake of the Slyvester cartoon, Stooge for a Mouse (1950). Bugsy and Mugsy would later be remade as the Dogfather cartoon, Heist and Seek (1974).
Next comes the silent Out of the Inkwell film, Koko Plays Pool (1927).
Now for the Aesop's Sound Fables cartoon, Farm Foolery (1930). While this may seem crude compared to what Disney was doing at the same time, there is a certain charm to that. The music is fun and some of the gags are quite creative. The final gag is bizarrely surreal in the best way.
Next comes Donald Duck in Contrary Condor (1944). This short film was directed by Jack King, who directed most of the Donald Duck cartoons at this time. For a while in the community of cartoon and Disney lovers, the Jack King Donald Duck cartoons were rarely given the accolades they deserve because more attention was paid to the later Donald shorts that Jack Hannah directed. However luckily today many Disney fans are reevaluating this and realizes what wonderful films, the Jack King Donald cartoons are. Contrary Condor is just one of the many examples of how great of a cartoon director Jack King was. However, this film also works because of a wonderful team of animators. John McManus animates the opening moments as well as Donald tossing the dummy and the mom diving after it. Judge Whitaker animates Donald yodeling while climbing the mountain, Donald's first meeting with the mother, Duck applauding the small bird's flight, the small bird gliding and landing, Donald's landing and Donald contemplating a new plan. Nick Nichols animates Donald discovering the nest and hiding in the egg, the hatching sequence, the small bird being jealous, the little bird snaping Donald off the limb, Donald's "flight," the mother applauding, the mother missing the dummy as it falls into the water and the closing sequence. Paul Allen animates the mother pushing the small bird off the limb, the mother encouraging Donald to fly and Donald trying to escape with the egg until the small bird intercepts it. George Nicholas animates the small bird falling and trying to fly. Don Townsley animates the small bird lowering its legs like landing gear and the mother's card trick. Hal King animates the mother attempting to push Donald off the limb and Donald faking a bad wing, Marvin Woodward animates the mother trying to trick Donald with the berry. The working titles for this film were Contrary Condors, Egg Collector and The Colombian Condor. The following is a review from The Film Daily, "Donald Duck provides plenty of laughs in his attempt to swipe an egg from a condor's nest. When Donald emerges from his hiding place in an empty egg shell which a mother condor mistakes for an unhatched egg she accepts our fine feathered hero as one of her own. Her attempts to get Donald to fly are extremely humorous. The Technicolor cartoon is aces."
Now it is time for a commercial break.
Now we join our good friend Farmer Al Falfa in Flying Oil (1935). This is a delightfully silly, surreal and creative cartoon.
Now for an early Disney Silly Symphony, The China Plate (1931). This short film was directed by Wilfred Jackson, who would later co-direct such Disney features as Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955). Even at this stage, Disney cartoons had all star casts of animators and this short is no exception. Joe D'Igalo, who would work not only for Disney but also for Warner Brothers, MGM and Fleischer Studios (where he would work on both of their feature films (Gulliver's Travels (1939), Mr. Bug Goes to Town (1941)), animates the teacup and teapot as well as the cherries being delivered to the mandarin. Johnny Cannon animated the mandarin eating and sleeping, the geishas dancing, the boy fishing and dragon swallowing the rock. Jack Cutting does much less here only animating the orchestra. Frenchy de Tremaudan (who animated on many of the best Disney shorts of the 1930's animates the first scene with the girl, the dragon eating the mandarin, capturing the girl and fighting with the boy. Rudy Zamora, who would have a long career in animation and would direct episodes of the Hanna-Barbera TV cartoons of the 1980's, animates the scene with the boy and the girl with the butterfly. Future Woody Woodpecker and Barney Bear director Dick Lundy would animate the fight between the mandarin and the boy. Ben Sharpsteen, who would later be the supervising director for such Disney features as Pinocchio (1940), Fantasia (1940) and Dumbo (1941), animates the couple being chased by both the mandarin and the dragon. David Hand, who would later be the supervising director for such Disney features as Snow White and the Seven Dwarfs (1937) and Bambi (1942), animates the scene involving the couple and the mandarin at the bridge. Future Donald Duck director (who directed the Donald cartoon earlier in this post) animates the couple dislodging the rock and in the boat. Walt Disney himself provides the laugh for the boy. Six years after this picture the Disney story department proposed a Japanese themed Silly Symphony that would be similar to this short, but that film was never made.
Next is probably the most famous Humphry the bear cartoon, In the Bag (1956). One reason this cartoon is so well remembered is because the very catchy song. As late as Cars 3 (2017), Disney movies would even include references to this delightful song. In the Bag marked the last Disney short made for CinemaScope and after this film the cartoons would go back to a regular aspect ratio. This theatrical cartoon made its TV debut in the Walt Disney's Wonderful World of Color episode, A Square Peg in a Round Hole (1963).
Now to close with a song.
Thank you for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
South of the Border with Disney by J.B. Kaufman.
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald
I have been a fan of Polish director and writer Agnieszka Smoczynska since her brilliant first movie, The Lure (2015). This film doesn't live up to her best work, but it isn't terrible either.
In the future the whole world is connected to an AI system to survive. When a cyber witch threatens the system, a detective is assigned to stop her.
More than just your average AI storyline, this movie has a lot to say and says it all very well. This film delves into not just how much we rely on AI but how we sacrifice our humanity to it. The characters seem either robotic or animalistic, showing how their entire humanity is being controlled. It is when they disconnect that they are able to truly allow their emotions, yet they are so deeply controlled that they cannot function beyond primal instincts when disconnected.
With such a talented filmmaker as Agnieszka Smoczynska at the helm, naturally this movie is overflowing with atmosphere. The world building is quite well done and there are moments that are filled with creativity that remind you of the director's best work.
Unfortunately, this movie does have lots of flaws in it. The pacing is far from great as it somehow manages to move at a slow pace, while still making many plot points feel rushed. Though I love Agnieszka Smoczynska's creativity there are times when the quirkiness can feel more than a little forced. There is also a tonal unevenness that is quite jarring at times as the movie goes from silly and fun to deadly serious and artsy. However, the worst flaw is the sound mixing. I don't know what happened here but often times the sound mixing makes it hard to follow anything the characters are saying as there is too much happening that is distracting from the dialogue.
This is an intelligent and thought-provoking story that is brought down by a flawed execution.
In this film, a marijuana addicted college dropout (Kristen Stewart) is mistaken for someone else and ends up in possession of an experimental drug. When her and her stoner roommate (Alia Shawkat) take some of this drug, they find themselves on the run from some very dangerous people.
This is not a sophisticated film by any means and there is no deeper ambition here than to get some silly laughs. With this it is definitely a success. This may not be constantly funny, and quite few jokes fall flat. However, when the jokes hit, the film gets really funny. Much of this is due to Kristen Stewart and Alia Shawkat's performances. These two make a truly perfect comedy team. They play off each other perfectly and it is such a joy to watch them together. When it comes to this over-the-top style of comedic performance, the result can either be funny or incredibly annoying. However, these two actresses strike the right balance of being annoying to other characters but never to the audience. If you put two lesser actresses in the leads, then the whole film wouldn't have worked. However, these two make the dumb low brow comedy quite funny. At the same time there is a real sweetness in their friendship. I was surprised to find myself soon really caring for these characters.
As stated before not all the comedy works here. Like many high concept comedies this film starts out not that funny but gets funnier once the story truly gets underway. The girls being able to hear their cats speaking to them after taking the drug is a joke that gets old quick. These cats (voiced by Seth Rogan and Kumail Nanjiani) are never as funny as it feels like they are meant to be.
This marks the feature length directorial debut for Dylan Meyer (who also wrote the film). I think it is safe to say we might have a very talented emerging comedy director with her.
Not every joke hits but this film is still a delightful comedy.
In this film, a charming man who is brilliant when it comes to his job (he is in the honey business), and gifted bluegrass musician runs into his estranged foster daughter. The two quickly become reacquainted and he teaches her everything he knows about the honey business.
This is a rare movie that never seems to be copying any other movie but instead just simply does its own thing. Watching this film, you can't really think of any other movie that it is like. This is a rare thing in today's age and even if it isn't perfect this originality should be appreciated. The film constantly changes genres, going from being a dark comedy to a serious thriller to an uplifting charmer. Because of this, you never know what is going to happen next. My story summary only covers the beginning of the story because midway through this film has a major twist that completely changes the story being told. Yet the surprises don't stop here, the story keeps you guessing what is going to happen next. At the same time the story keeps getting more complex. The characters themselves often make us unsure whether we are supposed to root for them or be disgusted by them. Yet regardless of what we are feeling towards them at any moment, they remain gripping to watch. The performances of Matthew McConaughey and newcomer Angelina LookingGlass add so much to this. That this is Angelina LookingGlass' first movie is shocking as she holds her own perfectly with the much bigger stars.
Another reason to watch this film is the soundtrack. In one scene the foster daughter states that she doesn't listen to much bluegrass and doubts she can get into it. However, when the foster father's band starts playing, she finds herself completely immersed in the music. The same thing will happen to anyone watching this movie who thinks they don't like bluegrass. The bluegrass filled soundtrack is so energetic and immersive that it is hard for anyone not to get into it.
This movie's flaws are not with the story or characters but rather with the filmmaking. The editing and the cutting between shots simply doesn't work. One gets the idea that director/writer Andrew Patterson is trying to make this film feel visually original as well. However, the result comes off as distracting and takes you out of the movie instead. There are also moments of gore here that seem to exist simply as cheap shock value. This just simply was not needed.
Despite any flaws, this is a truly original movie that will truly win you over.
In this film a suburban family sees a bright light shine above their house accompanied by a mysterious noise. After this they find their whole neighborhood is now being overrun by dinosaurs.
This film does have a corny B-movie charm. The movie never takes itself too seriously and that is what keeps it entertaining despite its flaws. There is a certain cheesy charm to watching a family on the run from dinosaurs or seeing dinosaurs destroy a suburban neighborhood. It helps that the dinos are visually impressive and they are given many scenes which create some good tension. When the movie focuses on this it is actually quite fun.
However, this movie tries to be a family drama at the same time as being a dinosaur action flick. One can feel that director/writer David Robert Mitchell is trying to channel Steven Speilberg's most popular efforts of the 1970's, 80's and early 90's (the film is even set in 1982) by mixing family drama, danger and fantasy. One can see shades of Close Encounters of the Third Kind, E.T. and Poltergeist (which may not have been technically directed by Spielberg but which bears his personal stamp) here, yet this movie does reach the same heights as those classics. The reason it doesn't is simple, the human characters never feel real to us. They are simple archetypes without anything more to them. In other words, they are bland as can be. A talented cast (lead by the always wonderful Anne Hathaway) does their best but are still unable to make these characters even slightly interesting. It doesn't help that these characters (even ones that are supposed to be very smart) keep making decisions that are incredibly dumb, even by monster movie standards.
I don't know this for certain, but it feels like a lot was cut out of this movie before its release that would have made certain parts make more sense. Whether this is the case or not there are many times where a plot point or a character shows up and then doesn't seem to have a reason for being there. The son has a crush on a young girl and that girl later joins the family in surviving the dinosaurs. Yet this girl ends up contributing nothing to the story and that the son has a crush on her is never followed up. It is hard not to wonder if there are a bunch of deleted scenes that would make this character's inclusion make sense.
One thing that is truly outstanding about this film is Michael Giacchino's score, which gives this movie a real epic and retro feel that fits the film perfectly.
This movie makes for an enjoyable trip to the movies, even if it is far from a great film.
Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons.
Today’s cartoon selection starts off with Three For Breakfast (1948). This movie is one of director Jack Hannah’s cartoons where he puts Donald Duck against Chip and Dale. Hannah had a gift for comedic timing and many of the Disney films that he directed were excellent slapstick outings. This film is a clear example of that and is simply a really funny cartoon. This film would make its TV debut on an episode of the Disneyland TV show entitled The Donald Duck Story (1954).
Next comes Kiko the Kangaroo in The Hay Ride (1937). For Castle Home Movie prints this film was renamed, Danger on Thin Ice. Though the Terrytoons studio would later give us Mighty Mouse and Heckle and Jeckle, before this the studio had multiple failed attempts at creating a cartoon star. Kiko was one of these attempts.
Now for the silent Out of the Inkwell film, Toot Toot (1926).
Now for the Columbia Color Rhapsody cartoon, Little Rover (1935).
Now it is time for a commercial break.
Now for a true Disney classic, Alpine Climbers (1936). Though this film teams Mickey, Donald and Pluto, it follows the same format as the Mickey, Donald and Goofy cartoons that Disney made around this time. Like those films, here each of the characters goes his separate way and has a separate adventure. Mickey tries to collect an eagle's egg. Donald tries to pick flowers. Pluto has a run in with a St. Bernard dog (designed by Joe Grant). This other dog actually has a name, and that name is Bolivar. The character however is unnamed in the film, nor would he ever be used again in an animated cartoon. Instead, the character would be named in the Disney comics. He started appearing in 1938 in Al Taliaferro's Donald Duck newspaper comic strip. Bolivar would soon become the family dog of the duck family and would even be a reoccurring character in Carl Barks' beloved Donald Duck comic books. Despite this being an odd name for a cartoon animal the name had almost been used before. A cartoonist named Pinto Colvig (best known to cartoon fans today as the original voice of Disney's Goofy) was interested in entering the making of animated cartoons when sound came to the movies. He felt due to the fact that he was a cartoonist, who was also capable of doing various voices and playing multiple musical instruments, he felt sound cartoons were a wonderful opportunity for him. He created a character named Bolivar the Talking Ostrich. Teaming with Walter Lantz (later of Woody Woodpecker fame), he made a film with this character called Blue Notes (1928). In this film, the animated ostrich interacted with a live action Pinto Colvig. Unfortunately, this film is considered lost and despite Colvig's best efforts, a series never materialized. Colvig would however talk much about this ostrich in later years, however Lantz would barely ever mention the character. It may be possible that Al Taliaferro named the dog character after Colvig's ostrich character, but there is no real proof either way. Alpine Climbers would be reissued to movie theaters in 1948. The short film would make its TV debut on an episode of TV's Disneyland entitled, The Adventures of Mickey Mouse (1955). The following is a review of Alpine Climbers from a 1936 issue of World Film News. "I laughed immoderately at the latest Mickey Mouse, Alpine Climbers. The spectacle of the frozen Pluto getting tiddly with his savior, a St. Bernard with a handy keg around his neck is wonderful. - Ian Coster"
Next is the Columbia cartoon, The Crystal Gazer (1941). This very strange short film was directed by Sid Marcus, who would later write cartoons for Warner Brothers including the first Tasmanian Devil cartoon.
Now for the only Betty Boop cartoon in color, Poor Cinderella (1934). As you can see here despite much merchandise today picturing Betty as having black hair, this cartoon shows her to be a redhead instead. This movie is also the odd man out when it comes to Betty Boop films for another reason as well. This is because the cartoon is in many ways a more serious picture that is actually intent on telling a somewhat straightforward version of this classic fairytale (perhaps it is appropriate that this is part of the Color Classics series instead of the regular Betty Boop series). This cartoon also features an original song, and this song was published as sheet music as well as appearing in this cartoon. Film historian and critic Leonard Maltin states that Mae Questel (the usual voice of Betty) was not used here for the song, but another singer was used instead. I do not know who this other singer is so if any of you do, please let me know. The following are two exhibitor's reviews from the Motion Picture Herald. "POOR CINDERELLA: Betty Boop— Betty Boop in the best example of color cartoon work we have had. Running Time, 10 Minutes. - M.P. Foster, Granada Theatre, Monte Vista, Colo. General Patronage." "POOR CINDERELLA: Betty Boop Cartoon— First of Paramount's colored cartoons and it is a wonderful creation. Look for the third dimensional allusion [sic]. If the rest of Paramount's colored cartoons come up to this one everybody will be satisfied. - L.G. Tewksbury, Opera House, Stonington, Maine. Small Town Patronage."
Now to close with a song.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
