An long, tedious, slow, confused, pretentious and unfocused mess of a movie.
This film never knows quite what it wants to be and loses focus very often. This movie has too many plots going on and sometimes it will spend too much time on one plot, that when you go back to the other you simply don't care anymore. There are also times when one plot will seemingly stop and the focus will change with no warning. This becomes worse when some of the scenes are incredibly slow and seemingly have nothing to do with the plot. Many of these scenes could have wound up on the cutting room floor and while this movie still wouldn't be great, it would at least be better and drag less. The scenes not only don't help the story but they add nothing to the film except to bore and lose the viewer's attention. They do not add a thing to the atmosphere, feel or enjoyment of the movie.
This movie also tries to create a moral ambiguity with its main character. However this is poorly handled because these little depth or meaning behind it. So rather than creating something thought-provoking, the film simply becomes mean spirited and unpleasant. The third act of this film is in fact painful to watch because it is so unpleasant without enough depth to justify this. Sure Matt Damon gives a good performance but that is hardly enough to make this character anything worth our time.
This film often tries to make political and social comments about Americas relationship to the rest of the world, but this too feels hollow and forced. Some of the commentary feels out of place and put into parts of the movie where it is completely unnecessary and the commentary that fits into the story offers no new insight that we haven't heard a thousand times before.
The ending of this movie was a great risk on the filmmakers' part but unfortunately it is not a risk that pays off. Rather than giving us a new perceptive on what we saw before, it leaves the last two hours feeling completely pointless. It makes us feel like we wasted those two hours (and if you saw this movie than you did). The twist like the rest of the movie moved a too forced and laborious pace. Once we reach the point when we can all see how this will play out, it takes seemingly forever for it to do so.
While in a way I want to applaud this movie for daring to take chances, I also have to acknowledge that there is not one chance taken that pays off and at the end of the day it is a terrible film. Avoid at all costs.
Hello my friends and welcome back for another round of classic cartoons.
Today's cartoon selection begins with a black and white Looney Tune, Porky's Midnight Matinee (1941). This is an early effort from Chuck Jones and is typical of his output at the time. The pace is slower moving than any of Warner Brother's other cartoon directors. Though Chuck Jones would later be known for fast paced slapstick like the coyote and roadrunner cartoons at this point his timing was often deliberately slow. Chuck also tended to rely on pantomime around this time and it was common for him to use characters that didn't talk. The ant here does not speak at all and Porky even receives very little dialogue. The ant also is typical of the smaller size characters (Sniffles, Joe Glow the Firefly, Tom Thumb, The Book Worm) that Chuck seemed to favor at this time. The following is an Exhibitor's Review from the Motion Picture Herald.
Next we join Popeye in Greek Mirthology (1954).
Next comes a real classic, Toot, Whistle, Plunk and Boom (1953). Though this is a Disney cartoon, it does not visual resmeble what one excepts from a Disney film. The short has a stylized look that was clearly inspired by what the UPA (Mr. Magoo, Gerald McBoing Boing) was doing at the time. This movie was very much legendary Disney animator (and one of the infamous Nine Old Men), Ward Kimball. Though C. August Nichols receives a co-director, he soon had little to do with this movie leaving all the creative decisions to Ward. Ward later remarked, "I was the one who did that picture all the way." As well as the high stylized look this short also uses limited animation. This is not limited animation used for budgetary reasons (like so many Saturday Morning Cartoons) but an artistic choice. Ward later commented on this decision stating, "you have to hold drawings. Watch and you'll see that sometimes the mouth just moves or an eye blinks. That is the difference between full animation and limited animation." Some at the Disney studio did not approve of the look or movement in this cartoon, with Ward even stating that for some it was "regarded as sacrilegious for Disney at the time." Iwao Takamoto for instance would state, "I believe that Ward in a sense took advantage of Walt's growing interest in live action during the early 1950's and that Walt was away from the studio more than he had been previous. This is how [Ward] was able to produce things that Walt would have never been in favor of, such as 'Toot Whistle, Plunk and Boom' which … was drawn in that stark, modern UPA style that Walt tended to disparage." However some were inspired by the short. Director Jack Hannah would even use similarly flat stylized designs in a few of his future cartoons. As this movie was almost finished. Walt Disney got a call from Darryl Zanuck (head of 20th Century Fox) who asked if they had any cartoons to go with his Cinemascope features. Walt said, "Well, I'll look around." Walt approached Ward Kimball about releasing this film in Cinemascope to which Ward replied, "We're almost finished with it but ok I'll go back and redesign some of the gags for the bigger screen." It turned out to be a much more complex and daunting task than this though. Kimball would state about these changes that they "would have to change the size of the celluloid sheet on which we make our drawings and paintings - from 12 1/2 by 15 1/2 inches to 12 1/2 by 31 inches." He also learned the difference between making a cartoon for Cinemascope. He would later state, "In Cinemascope cartoon characters move not the backgrounds. Because there is more space, the characters could move about without getting outside the visual angle … characters could no longer perform in one spot against a moving background but are moved through the scenes." Still Ward was able to meet the deadline. The movie was a huge success winning the Acedmy Award for Best Animated Short Subject. However since a live action Disney nature documentary short was also nominated for an award that night, Walt came up and accidentally thanked the "Naturalist photographers who have played such a great part in making the nature films." This short receives the number 29 spot in Jerry Beck's book, The 50 Greatest Cartoons.
Now it is time for a Garfield Quickie.
Next comes a delightful Pink Panther short, Pink Punch (1966). This movie was directed by Hawley Pratt, who had been a layout artist for producer (and co-creator of the panther) Friz Freleng, when Friz was directing Looney Tunes and Merrie Melodies cartoons.
Next comes a classic one shot Merrie Melodies cartoon, Have You Got Any Castles? (1938). This movie is part of a series of Looney Tunes and Merrie Melodies shorts that revolved around objects coming to life in a book store over night. These cartoons began with Three's a Crowd (1933) and ended with Book Revue (1946). Have You Got Any Castles? is one of the finest of these films. This movie is directed by Frank Tashlin (who also directed another variant on this theme the same year, You're An Education (1938)), who deserves a place among the finest cartoon director of the 1930's and 40's (he would later direct live action features starring the likes of Bob Hope, Jayne Mansfield and Jerry Lewis). There is little in the way of story here, but plenty of gags, music and fun. The Swing For Sale musical number features reused animation from a Friz Freleng directed Merrie Melody Clean Pastures (1937). The following is a couple of exhibitor's reviews from the Motion Picture Herald. "HAVE YOU GOT ANY CASTLES: Merrie Melodies —A swell little cartoon in color. Another smash hit, very clever and it impressed me as it did the older people. Kiddish enough for the kiddies. Yet to understand it, it would get a real laugh from the older folks. Running time, seven minutes.—Pearce Parkhurst, State Theatre, Torrington, Conn. General patronage." "Have You Got Any Castles: Merrie Melodies - To sit down and watch these cartoons is like watching something happen in the line of a miracle. You can't beat them. This is a knockout. Running time, eight minutes. - George Khattar, Casino Theatre, Whitney Pier, Sydney, Nova Scotia, Canada. General Patronage."
Next is a silent Mutt and Jeff cartoon, When Hell Freezes Over (1926).
Now let us close with a song.
Resources Used
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. Cartoons by Jerry Beck Will Friedwald.
The 50 Greatest Cartoons Edited by Jerry Beck
The Life and Times of Ward Kimball: Maverick of Disney Animation by Todd James Pierce.
A haunting, powerful and thought provoking work of art.
This is one of those films that will be debated by movie buffs for decades to come. It takes no time explaining things to you, often not caring if you "get it" or not. It not only moves at a slow pace, but demands your attention rather than catching it. It seemed to me that when I saw it, most people walked out of the theater not quite knowing what to make of it. For filmmakers to willingly and purposely create a feeling like that is extremely brave and deserves to be applauded.
Everything in this movie is allegorical, sometimes in a more clear way and sometimes in a way that is anything but. I will not pretend that I understood it all on my first viewing. However I know that with repeat viewings, more and more will become clear. This however is something that I truly appreciate. It is too rare to come out of movies and spend the whole way home still actively engaged in the film and that was the experience I had here.
Yet beyond just the allegories there was much that stayed vividly in my mind after watching. Many filmmakers have tried to create fairytales for adults and most of them have fallen for short of the ones we grew up with as kids. Yet this movie captures this fairy tale atmosphere perfectly. As soon as the film started I found myself completely transported into the world of the story. This is a fantasy world, that felt as real to me as those in any classic fairy tale. There is a dreamlike quality throughout the film. Sometimes it feels like an odd but vivid dream that when we wake we will try and make sense of but as it is happening nothing could feel more real. At other times it is a nightmare, where logic and reason are absent and only the horrible feeling of something not being quite right remains. Because of this dreamlike feeling the entire movie kept me feeling ill at ease but completely drawn in. This quality is enhanced by the incredible cinematography by Andrew Droz Palermo and the completely sure of himself direction by David Lowery. These along with the slower pace and the scenes simply with our main character walking through these beautiful environments, make this film a unique experience completely different from anything you would see in a mainstream movie.
This film may not be for everyone, but for those who this is for will find it a fantastic work of art and will treasure it.
The basic storyline of this movie is a simple one. A Truffle Hunter's pig was stolen away from him and he goes out looking for the pig. In most filmmakers' hands this would have turned into a simple revenge flick with nothing more to it. However director/writer Michael Sarnoski (this is first ever feature film) and his co-writer, Vanessa Block deliver so much more. This movie does not have any of the typical action scenes in which you might except. In fact the best scenes are the slow and quiet ones. These scenes can be surprisingly quite moving and will stay with you long after you leave the theatre. Sometimes these moving scenes play an important role in the story and sometimes they are small character moments. Those moments could have been left on the cutting floor and the story would have made just as much sense. However the film would not have the same emotional impact. The movie may be devoid of action scenes but it certainly has some twists and turns that will keep people glued to their seats. I never knew where this film was going and when I thought I did, it did something quite different.
The acting in this movie is incredible. Nicholas Cage has often been criticized for some of his more over the top moments on screen. With this it can often be forgotten just how incredible of an actor he can be when given the right role. His performance here is quiet, reflective, understated and incredibly moving. His character is a man of few words. Yet Nicholas Cage with his body language and sheer acting ability conveys all we need to know, making this a very human character, that we truly connect to over the course of the movie. Special attention must also be given to Alex Wolff for giving an excellent performance that even Cage's performance can't obscure.
This is a truly great film and so far my favorite of 2021.
The Bugs Bunny/Road Runner Movie is considered by many to be the best of the Looney Tunes compilation movies . It was also a movie that I watched over and over again as a kid and have firmly embedded in my mind. Watching it again today, I still love it just as much as when I was a kid.
In the late 1970's animation legend Chuck Jones was called back to once again work with the Looney Tunes characters. This began with a couple of TV specials, Carnival of the Animals (1976) and A Connecticut Rabbit in King Arthur's Court (1978). This TV specials had enough success that it was decided to have Chuck Jones head a feature film starring Bugs Bunny. The feature would consist of Chuck Jones most popular Looney Tunes and Merrie Melodies shorts with new animated scenes directed by Jones (and written by his long time collaborator, Michael Maltese) connecting the shorts. Unlike late compilation movies, The Bugs Bunny/ Road Runner Movie does not try to tie these shorts into a storyline. Rather the movie centers around Bugs giving us a tour through his home and remembering his past adventures (the classic cartoon shorts). Much to the delight of cartoon fans everywhere, these cartoons are mostly unedited (except for the opening titles). The exception to this is a great 15 minute compilations of spot gags from the roadrunner cartoons. This structure works extremely well creating a light, breezy and unpretentious feel to this movie that I find hard to resist.
This movie includes such classic cartoon shorts as Hare-Way to the Stars (1958), Duck Dodgers in the 24 1/2 Century (1953), Robin Hood Daffy (1958), Duck Amuck (1953), Rabbit Fire (1951), Bully For Bugs (1953), Ali Baba Bunny (1957), For Scent-imental Reasons (1949), Long Haired Hare (1949), What's Opera Doc (1957) and Operation Rabbit (1952). There is a reason these cartoons are considered classics. They are comedy masterpieces on the level of anything Charlie Chaplin or Buster Keaton ever made (and with how much I love their movies that is saying a lot). The timing, the humor and the characterizations are all top notch and couldn't be better.
The new scenes while not on the level of the classic shorts (what could be?) are delightful. Michael Maltese's writing is still very sharp and witty and these new scenes include some easy and fun to quote lines that delight me each time I watch. Having these scenes have the same director as the classic shorts certainly help them transition very naturally into the cartoons (something later compilation movies would have trouble with). Also helping this out is that some of the classic Looney Tunes animators worked on the new scenes including Phil Monroe, Ben Washam, Virgil Ross, Lloyd Vaughan and Manny Perez.
This film unfortunately only received a limited theatrical release and was not a great success there. However it would have quite a bit of success later on TV and home video. The movie would also spawn 4 more compilation features (The Looney, Looney Looney Bugs Bunny Movie (1981), Bugs Bunny's 3rd Movie, 1001 Rabbit Tales (1982), Daffy Duck's Movie: Fantastic Island (1983), Daffy Duck's Quackbusters(1988)).
Resources Used
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
The live action GI Joe movies do not have the best track record and this film tries it darnedest to rectify that. In this movie we spend time actually getting to know some of the characters, the action sequences are quite fun and the storyline is more developed. While the film doesn't completely succeed in revitalizing the franchise, it is quite entertaining in its own right.
One thing that I really appreciated about this movie was the way the main character was handled. The filmmakers did not simply make him a simple good guy, but a man who has to deal with his anger and hatred before he can become the hero he needs to be. Through most of this film he is neither a good guy nor a bad guy, but a faulted man who we can all easily relate to. Henry Golding's performance of course heavily enhances this. His two main allies are also quite well written and just as entertaining as the lead. Unfortunately this movie's main villains are completely bland and boring and any scenes that revolve around them just don't work.
The action scenes are big and a lot of fun. For a movie based off action toys and a kids cartoon show, they are appropriately over the top, and this is what makes them so joyous. Unfortunately the use of "shaky cam" can sometimes really get in the way, but most of the times it is not as distracting as you would think.
The storyline is one we have seen many times before, yet it is surprisingly pretty well told. There is nothing groundbreaking or awe-inspiring in the storytelling but it is engaging and fun enough for what this is. The story moves at a swift pace without ever once feeling rushed. We are also treated to an engaging and fun environment which can make the story come to life. Still at the same time some of the exposition can feel forced and the ways the filmmakers tried to tie this into the bigger GI Joe universe don't really work (a Marvel movie this isn't)
This is not a masterpiece by any means, but it does its job well enough to provide you with a fun time at the movies.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Gene Autry singing Rounded Up in Glory. Gene is backed up here by The Cass County Boys, The Kettle Sisters, Johnny Bond and Carl Cotner's Orchestra. The Cass County Boys were regulars with Gene at this time, appearing with him in radio, movies and later TV. Gene met them while stationed at Love Field in Dallas. The band's accordion player Fred Martin later remembered, "We were on the radio down there and Gene heard us. 'When I get back I'll send for you.' he said. Had anyone else said it, We'd have never excepted to hear of it again. But Gene's word is his bond. A year later to the day, he long-distanced that he had a place for us." This recording comes from an episode of Gene's Melody Ranch radio show that aired March 23, 1947. Next comes Conway Twitty with Jesus is a Soul Man. This song comes from Conway's 1973 gospel album, Clinging To A Saving Hand / Steal Away. After this is Alan Jackson singing Standing on the Promises. This hymn was written by Russell Carter in 1886. Working as a sheep herder he developed a heart condition. This lead him to pray much more often and he began to get closer to God everyday. When he was healed he vowed to "stand on the promises of God" and wrote this song. Now we turn to Johnny Cash with Ain't No Grave. The song was written by Clade Ely in 1934 when he was only 12 years old. He had tuberculous and when his family was prayed for him, he performed this song for them. This hymn served as the title track for John's posthumously released album in 2010. This is followed by Roy Rogers and Dale Evans with The Lord Is Gonna Take Good Care Of You. This song reminds us to put our trust in the Lord always and to turn to him whenever we are going through hard trials. This is something easier said than done and I don't think there is one of us who does not struggle with this at times (I most certainly do). Having recently read Dale Evans' book Angel Unaware (about her and Roy's daughter Robin (who had Down Syndrome and an incredibly short life)), I know that Roy and Dale struggled with this as well and yet when they put their trust in God they became stronger in their faith than they had been before. This version of the song is the B-side of a 1955 Little Golden Record with Jesus Loves the Little Children as the A side. Now comes The Sons of the Pioneers with God Speaks. Written by Rubylin Pittman and Jean Bond, this song comes from the Sons' 1963 gospel album, Hymns of the Cowboy. Today's musical selection ends with Ephesians 6 from their 2015 album, Why We Sing. This song reminds us to that we are to always wear the armor of the Lord. This means to stay in prayer, to trust in God, to keep our mind on the things of God and to study God's word. We are fighting a spiritual battle and temptation is ready to pounce on us at any moment. Meaning that we should not let our guard down and allow the devil to get the better of us, and the only way to do this is to wear this armor.
Do all things without grumbling or questioning, that you may be blameless and innocent, children of God without blemish in the midst of a crooked and twisted generation, among whom you shine as lights in the world. Philippians 2:14-15
Go to the ant, O sluggard; consider her ways, and be wise. Without having any chief, officer, or ruler, she prepares her bread in summer and gathers her food in harvest. Proverbs 6:6-8
Even though I walk through the darkest valley, I will fear no evil, for you are with me; your rod and your staff, they comfort me. Psalm 23:4
When anxiety was great within me, your consolation brought me joy. Psalm 94:19
Be strong and courageous. Do not be afraid or terrified because of them, for the LORD your God goes with you; he will never leave you nor forsake you. Deuteronomy 31:6
They must turn from evil and do good; they must seek peace and pursue it. 1 Peter 3:11
Surely God is my salvation; I will trust and not be afraid. The LORD, the LORD himself, is my strength and my defense ; he has become my salvation. Isaiah 12:2
The mind governed by the flesh is death, but the mind governed by the Spirit is life and peace. Romans 8:6
Make sure that nobody pays back wrong for wrong, but always strive to do what is good for each other and for everyone else. 1 Thessalonians 5:15
Cast all your anxiety on him because he cares for you. 1 Peter 5:7
Make every effort to live in peace with everyone and to be holy; without holiness no one will see the Lord. Hebrews 12:14
Thanks for joining me come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Resources Used
Public Cowboy No. 1: The Life and Times of Gene Autry by Holly George Warren.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with one of my favorite early Mickey Mouse cartoons, The Karnival Kid (1929). This movie is famous for featuring Mickey Mouse's first spoken words. Though Mickey's earlier shorts had been sound pictures, they mostly revolved around music instead of dialogue. Though Walt Disney was excited about moving in this direction, his distributor, Pat Powers was not. Powers felt that an English speaking mouse would have less appeal in countries where English is not the common language. To be fair the mouse does not receive a great deal of dialogue in this movie. His first words are the immortal, "Hot Dogs! Hot Dogs!" (in a scene animated by future Donald Duck director, Jack King). The voice is not the familiar high pitch falsetto, but a more plain undistinguished voice. I do not know who provided this voice. Carl Stalling speak about the early voices of the mouse in a 1969 interview, “all the animators were taking a shot at it, those who wanted to.” Of course later on Walt himself would become the voice of Mickey. The cartoon features some men who would soon have a great input on Disney's animated films. Ben Sharpsteen (supervising director on the Disney features Pinocchio (1940) and Dumbo (1941)) animates the opening shots of the fairgrounds, the monkey playing all the instruments and the barker (a fore-runner of Kat-Nip from the Mickey Mouse comic strip) pulling Mickey's nose. Burt Gillet (who would direct the most popular Silly Symphony, Three Little Pigs (1933)) animates the scene with the merry-go-round, Mickey playing the hot dogs like musical instruments, the emergence of Minnie and Mickey tipping his ears to her ("The Big Mooseketeer" Roy Williams stated that this scene inspired the Mickey Mouse ears that all of TV's The Mickey Mouse Club wore). Les Clark (one of Walt's nine old men and one of the greatest Mickey Mouse animators) receives very little footage in the cartoon. He animates Mickey catching a runaway hot dog and giving it a spanking, Mickey briefly strumming the guitar and the final shot of the movie. Les Clark's ending was originally going to be longer with Mickey riding the bed like a horse. The legendary Ub Iwerks (who co-created Mickey with Walt) animates the two cats' duet. Despite the forward looking ideas in this cartoon borrowed a major gag from a previous Disney short. Mickey chasing and spanking the hot dog was originally done by Oswald the Lucky Rabbit in All Wet (1927).
Up next are a some TV commercials for Shriners Hospital featuring the Looney Tunes.
Next comes a Terry-Toon cartoon featuring Gandy Goose, Barnyard Baseball (1939). This movie would later be remade in color as Mexican Baseball (1947), which also featured our good friend Gandy. A review from The Exhibitor called this " an average entrant in a sub-average series." The following is an exhibitor's review from The Motion Picture Herald, "BARNYARD BASEBALL: Terry-Toons—This car- toon is passable.—Harland Rankin, Plaza Theatre, Tilbury, Ontario, Canada. General patronage." Despite these reviews, I really enjoy this cartoon.
Next comes an excellent Pink Panther short, Little Beaux Pink (1968).
Up next is a real treat for any music fans reading this blog. This is the Betty Boop cartoon, I'll Be Glad When You're Dead You Rascal You (1932). This cartoon features music by no less than the great Satchmo, Louis Armstrong and his orchestra. Not only do Louie and his band provide the music here, but they appear in live action, including a scene where Satchmo's live action face chases the animated Koko and Bimbo. Louis Armstrong was not the only jazz great to appear in a Betty Boop cartoon, as Cab Calloway appeared in three. The song that Louie sings here had also been recorded by Cab. Needless to say the music is the highlight of this movie, though there are still quite a few really good gags here. The following is a 1933 exhibitor's review from the Motion Picture Herald, "BETTY BOOP CARTOONS: These cartoons are as popular as Mickey Mouse, and that's saying something. - A.B. Jeffries, New Piedmont Theatre, Piedmont, Mo. Rural and small town patronage."
Motion Picture Daily, 1941
The Film Daily, 1937
Next comes a delightful spot gag Merrie Melodies cartoon, Sport Chumpions (1941). Directed by Friz Freleng, this movie is very much in the style of the spot gag Merrie Melodies directed by Tex Avery around this time. While it may not be as great as some of those masterpieces, it is very enjoyable in its own right. However not everyone at the time was impressed as can be seen by the following exhibitor's reviews from The Motion Picture Herald. "Sport Chumpions: Merrie Melody - This is not up to the Merrie Melodies standard. There are very few laughs in this one and nothing makes sense. They've made better ones than this. Running time, 7 minutes. - Peter Kavel, Campau Theatre, Hamtramck, Mich., General Patronage." "SPORT CHUMPIONS: Merrie Melodies Cartoons - I didn't think much of this. Just something to fill out the program. Running Time, 7 minutes. - J.M. Thompson, Center Theatre, Marlette, Mich. Rural Patronage."
Here is a Coyote and Roadrunner segment from The Looney Tunes Show entitled, Silent But Deadly (2011).
Today's cartoon selection ends with a great one off Disney short, Pigs is Pigs (1954). This movie was directed by Jack Kinney (probably the funniest Disney director) and features design work closer to a UPA (Mr. Magoo, Gerald McBoing-Boing) than your average Disney fare. The cartoon remains a favorite of mine and I hope you will love it too.
Thanks for joining me. Come back next week for another selection of animated treasures. Until then may all your tunes be looney and your melodies merry.
A sincere and heartfelt tribute to Los Angles and young people.
One of the first things to strike me about this movie was just how much love the filmmakers for the subject matter. Director, Carlos López Estrada avoids giving us a superficial Hollywood-ized version of young people in L.A. and instead gives us the real deal. Much of this is achieved through letting the young people's voices be the ones we hear throughout the film. They play themselves and recite poetry that they themselves have written. These poems are often the highlight of this film. They are incredibly well written and it is easy to tell the people we hear from here are very talented and intelligent. This poems are also brutally honest about the world these young people are living in and there thoughts and feelings about it. This makes this a rare American movie where we get to hear the voice of young people in a completely unfiltered and Un-Hollywood-ized way, giving us a much more authentic and powerful portrait than so many other films that try to portray the same thing. These young people are all from different walks of life, races, sexualities and lifestyles. Yet a similar message rings through much of what they are saying, that they are human beings with both minds and emotions and that they simply want to have their voices heard. This may seem basic but hearing their voices makes you stop and listen. This movie is also helped by excellent cinematography by John Schmidt, who perfectly brings out the beauty of LA that can too often be overlooked.
There was a plotline involving two aspiring rappers that honestly felt kind of bland and cheesy. I personally wish the filmmakers could have spent less time on that plot. There are also quite a few scenes that try to connect all the little stories happening around LA. Unfortunately those scenes can feel quite a bit corny and cheesy and therefore out of place in this mostly honest film. However the sheer power of the scenes that work overcome the scenes that don't.
Hello my friends and welcome back to another service of Cowboy Church.
Today's musical selection begins with Gene Autry singing Little Old Church in the Valley. This recording comes from an episode of Gene's Melody Ranch radio show that aired on August 24, 1947. The power Chet Atkins had over a guitar is incredible. At a time when country music was mostly about the singer and the lyrics, Chet rose to great popularity with instrumental guitar music. Yet his guitar playing is so soulful and effective that it speaks to listeners in the same way as any of the great country singers. From Chet Atkins we have Take My Hand Precious Lord from his 1962 album Back Home Hymns which featured instrumental versions of classic gospel songs. This is followed by Connie Smith with Where Could I Go But to the Lord. This song was written in 1940 by James Buchanan Coats or J.B. Coats. However the inspiration for the song came years before it was written. His neighbor, Joe Keyes, was passing away and when J.B. asked him where he would spend eternity, Joe responded, "Where Could I go but to the lord." This version comes from the 1966 album, Connie Smith Sings Great Sacred Songs. Next comes Hank Williams singing Lord, Build Me a Cabin. This is one of the lesser known hymns that Hank recorded. This song appears to be the only known song written by Corpal Curtis Stewart. It first appeared in a hymnal called Banner Songs in 1944. Though later some major artists recorded this song (such as Bill Monroe and Roy Acuff) at the time of this recording the only other known recorded version was by The Southland Dixie Quartet and was released the same year. This version of the song comes from an episode of Hank's Mother's Best radio show that aired on January 11, 1951. Next comes Johnny Cash with Oh Bury Me Not. This recording comes from John's 1994 album, American Recordings. This was his first album for the American Recordings record label. This record label was not known for country music, but rather heavy metal and rap. The Black Crows, The Beastie Boys, Sir Mix-A-Lot and Slayer were among those he had recorded there. What drew John to this unlikely label was the complete musical freedom he would have. For this album, producer Rick Ruben had John simply record whatever songs he felt like (from any genre and any time period), just him and his guitar. This was a success and revived John's musical career which had been on a downslide commercially, critically and creatively. Reviews said that this was not just one of John's best recent albums, but one of the best albums he had ever done. John now found himself with a new young audience whose musical taste consisted of heavy metal, hip hop, punk, alternative and rap. The reason, Bury Me Not is included in this week's Cowboy Church is that it has a spoken introduction that is a prayer from the point of view of a cowboy. This is followed by The Sons of the Pioneers with their 1950 recording of Gospel Train. Today's musical selection ends with Roy Rogers with Peace in the Valley. The hymn was written by Thomas A. Dorsey who later explained the origins of this song, “Peace in the Valley,” “It was just before Hitler sent his war chariots into Western Europe in the late 1930s. I was on a train going through southern Indiana and saw horses, cows and sheep all grazing together in this little valley. Everything seemed so peaceful. It made me question, “What’s the matter with mankind? Why can’t men live in peace?” Out of those thoughts came “Peace in the Valley.” This recording comes from Roy and his wife Dale Evans' 1973 gospel album, In the Sweet By and By.
He is the Rock, His work is perfect; all His ways are just. A God of faithfulness without injustice, righteous and upright is He. He is the Rock, his works are perfect, and all his ways are just. A faithful God who does no wrong, upright and just is he. He is the Rock; his deeds are perfect. Deuteronomy 32:4
How great you are, Sovereign LORD! There is no one like you, and there is no God but you, as we have heard with our own ears. 2 Samuel 7:22
David was conscience-stricken after he had counted the fighting men, and he said to the LORD, "I have sinned greatly in what I have done. Now, LORD, I beg you, take away the guilt of your servant. I have done a very foolish thing." 2 Samuel 24:10
For although they knew God, they neither glorified him as God nor gave thanks to him, but their thinking became futile and their foolish hearts were darkened. Romans 1:21
Through Jesus, therefore, let us continually offer to God a sacrifice of praise—the fruit of lips that openly profess his name. Hebrew 13:15
Dear brothers and sisters, I urge you in the name of our Lord Jesus Christ to join in my struggle by praying to God for me. Romans 15:30
Jabez cried out to the God of Israel, "Oh, that you would bless me and enlarge my territory! Let your hand be with me, and keep me from harm so that I will be free from pain." And God granted his request. 1 Chronicles 4:10
If calamity comes upon us, whether the sword of judgment, or plague or famine, we will stand in your presence before this temple that bears your Name and will cry out to you in our distress, and you will hear us and save us. 2 Chronicles 20:9
And we know that in all things God works for the good of those who love him, who have been called according to his purpose. Romans 8:28
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 more classic cartoons.
During World War 2, Disney made quite a few cartoons with Donald Duck in military uniform. Yet Mickey Mouse was rarely seen in such. A rare exception to this is Out of the Firing Pan Into the Firing Line (1942), yet even in this film his appearance is a brief cameo (the real stars were Pluto and Minnie). This was not your average Disney short, but rather a cartoon with a message. This message was to tell movie-goers on the home front to save fat for the war effort when they were cooking. This film was the result of a negotiation between Kay Kamen (a promoter who had played a major role in merchandising Mickey Mouse) and the War Production Board. The War Production Broad asked for this three minute film to be completed in thirty days, but the studio knowing that they couldn't get the film to Disney quality in that short of a time got the time extended to sixty days (still a short time to make a cartoon). Walt made sure that this film would be of the highest quality putting some of his best men on it. The director was Jack King who was directing some truly excellent Donald Duck cartoons at this time. Two of Walt's nine old men animated on this short John Lounsbery and Les Clark. John Lounsbery animated much of Pluto's action, including the opening scene, Pluto being excited over the grease and him arriving at the shop. Les Clark (one of the studio's best Mickey Mouse animators) and Marvin Woodward animate almost all of Minnie's scenes. Les Clark animates Minnie with the skillet and her watching Pluto fetching the can. Marvin Woodward animated Minnie frying the eggs and offering grease to Pluto. Future Donald Duck director, Jack Hannah only animated one brief scene, in which Minnie puts fat in the ice box. Just as important as any of the character animators is effect animator Josh Meador. One of his scenes, an underwater scene in which we see an enemy submarine sinking was given special attention. Unit Manager Jack Dunham stated this scene “should be given preference over all other scenes in this production.”
Up next is the first Roland and Ratfink cartoon, Hawks and Doves (1968).
Next is one of Hanna-Barbera's Laurel and Hardy cartoons. Since both Stan Laurel and Oliver Hardy had passed away by this time, they obviously couldn't not voice their characters. Doing the voice of Stan Laurel here is Larry Harmon (Bozo the Clown) and Oliver Hardy is voiced by Jim MacGeorge. Jim MacGeorge played Stan Laurel in the Get Smart episode, House of Max (1970). Here is the first of these Laurel and Hardy cartoons, Can't Keep a Secret Agent (1966).
Next is the first star of Looney Tunes, Bosko in Yodeling Yokels (1931). Anyone familiar with the Mickey Mouse cartoons of this time will notice that there is not much difference between Bosko and his girlfriend Honey and Mickey and Minnie. This is no coincidence. Heading the Looney Tunes and Merrie Melodies at this time were Hugh Harman and Rudolf Ising, who had worked with Walt Disney during the silent era. Some of the animators had also come from working with Walt including Friz Freleng (who would later become one of the great Looney Tunes directors). Friz commented on these similarities stating, :We all came from the same school and that was with Walt Disney from Kansas City. So there was like thinking and I suppose that's why the characters sometimes looked alike. We were inspired by the Aesop's Fables type of characters that Paul Terry had been doing ... later on of course that changed."
Here are some educational TV PSAs from 1991, starring Bugs Bunny.
Up next is Mr. Magoo's film debut, Ragtime Bear (1949). The UPA studio wanted to get away from funny animals and use human characters as their stars. Yet Columbia (their distributor) had little interest in that, feeling they should stick to the funny animals that dominated much of cartoons at this time. Columbia reluctantly accepted Ragtime Bear because it did have a funny animal in it and that the animal was the titular character. Of course after Mr. Magoo became popular Columbia never argued about a human being the star of the cartoons. Mr. Magoo as a character benefited heavily from the voice talents of Jim Backus. Jerry Hausner (voice of Magoo's nephew Waldo) commented on recording this first cartoon, "We went into the studio with two pages of dialogue. We read all of the speeches that had been written down, Then [John] Hubley did something that no other animated cartoon director had ever done in my presence . He said 'Let's do it again and ad-lib around the subject. Throw in any wild thoughts you might have.' We did another version of it. Backus began to go crazy and have a good time … He invented a lot of things and brought to the cartoons a wonderful and fresh approach." This cartoon would be reissued to theaters in 1959.
Broadcasting, 1960
Now for a great Pink Panther short, GI Pink (1968).
Today's cartoon selection ends with a World War 2 era Popeye short, Blunder Below (1942). A review in Showman's Trade review stated, "This is an excellent and timely release in the Popeye series." A review in the Film Daily simply called the cartoon "Fair." I love how all the other men in the Navy look like Superman from the same studio's Superman cartoons.
I know that I may be going against the crowd here, but I had a surprisingly good time watching this movie. Both the trailers and the early reviews had me nervous (Though I tried to keep in mind that the first Space Jam got just as bad of reviews and I enjoy that). As the movie started my fears seemed to be coming true. It takes too long for the Looney Tunes to appear and there were two many scenes that simply seemed to exist to show how amazing Lebron James is (Note: I know nothing about sports and the first preview was the first time I heard of him). Yet as the film went on I began to enjoy it quite a bit.
The storyline is basic and simple, which was something I was delighted by. The previews made me worry that the film would try too hard to be bigger than the original in every way. What made the first one work is that it is a small scale unpretentious movie. Luckily this sequel is very similar to the original in that way. True it is also very similar in that some plot points are repeated here. Yet there is enough of a difference to make it feel like it is not just a rehash. The Looney Tunes unfortunately take too long to appear and can feel like supporting characters in their own movie. Yet when they are on the screen they really shine. The characters are perfectly in character. These are the tunes that we have grown to love and it is a joy to watch them. Much of the humor involving them is excellent. The scenes in which we see the Looney Tunes in the worlds of various other movie worlds are excellent (with the Casablanca one getting a really good laugh out of me). This is the Looney Tunes doing what they do best. Too often modern versions of these cartoons parody the subjects they are making fun of, when in the classic cartoons the humor came from entering these characters into worlds were they don't belong (for instance Daffy Duck being a superhero). The tunes also get some quite funny moments during the game. Fans of the franchise will probably be both disappointed by these characters being supporting players and delighted that the characters are handled very well. This movie is also helped by a good villain (Don Cheadle) who feels like a real threat and is quite fun to watch at the same time. LeBron's son (Cedric Joe) is also a surprisingly good character and I truly liked and cared about this kid. He brought a real emotional connection to the film and carries many of the scenes without the Tunes very well.
While this movie has its faults, it is a simple and fun story and the Looney Tunes are great (I just wished they were the main characters).
The Big Noise has often been referred to as Laurel and Hardy's worst movie. Randy Dreyfuss and Michael Medved included this in their book, The Fifty Worst Films of All Time, it is the only Laurel and Hardy movie to get a BOMB in Leonard Maltin's Movie Guide and William K. Everson was especially harsh on the movie in his book, The Complete Films of Laurel and Hardy. Yet I find each time I watch this movie I thoroughly enjoy it and laugh quite a bit.
This was the boys' fifth feature for Fox. Their films for Fox have a terrible reputation from Laurel and Hardy fans (though I personally have a fondness for them which I wrote about here). Much of this is due to the working conditions there and the lack of creative freedom the boys had. When they worked at Hal Roach Studios they were a major part of the creative force behind their films. Yet when they were at Fox they were simply actors, who did what they were told. This is something that becomes very clear when you look at the first three movies the boys made for Fox (Great Guns (1941), A Haunting We Will Go (1942) and Jitterbugs (1943)). Regardless of whether or not you like these films (I like them), they feel quite different from any of the pictures they made for Roach. Stan and Ollie feel out of character sometimes, the humor is quite different and the boys aren't always the focus of the movies. However with the fourth film The Dancing Masters (1943), something was changing. The boys become the focus of these movies, they much closer resembled the characters they had played at Roach and the humor was much closer to the earlier Laurel and Hardy. What I find interesting about The Big Noise's reputation is that this movie much more closely resembles that of classic Laurel and Hardy then the first three Fox films. With this in mind, it would seem more likely that this would be held in a higher regard than some of the Fox movies that preceded it. Yet that is not the case.
The reason that the comedy of this movie feels so much like the Hal Roach films is simple. Much of is taken directly from those earlier pictures. Gags from Habeus Corpus (1928), Wrong Again (1928), Oliver the Eighth (1933), Berth Marks (1929), Block Heads (1938) are reused here. While some might complain about this, I have no problem with it. A funny gag is still a funny gag and many of these gags are still quite funny here. I know this might sound sacrilegious to some but I actually find the train berth scene here funnier than the one in Berth Marks. Much of this is due to a great addition of Jack Norton as a drunk, who finds his way into Stan and Ollie's berth. The results are very funny. However not all the funny moments come from the older pictures. The bomb testing scene and the ending are quite funny and original to this movie. This is not to say every joke works but a great majority of them do. While there are some straight scenes that don't include Stan and Ollie, there are much less than the Roach features, Bonnie Scotland (1935) and Swiss Miss (1938).
Is this as great as Way Out West (1937) or The Music Box (1932)? No. Is it very entertaining and quite funny? Yes.
Michael's Movie Grade: B+
An excellent animated romance film from Japan.
To say this movie is really sentimental would be an understatement. This film pulls every sentimental trick in the romantic movie playbook and then some. However this works because the filmmakers are so sincere about the sentiment. The film never comes off as manipulative as it could have in lesser hands. Instead every emotion is come by honestly. Much of this is due to our two main characters. While they conform in some ways the clichés of the genre, they stand as their own characters very well. Their personalities are much more than one note and grow to truly care about them pretty quickly into the film and want nothing more than for them to achieve their dreams. The relationship between the two is also incredibly well handled. It grows naturally, never feeling rushed or in any way unbelievable. Because of this the emotional scenes hit home extremely well. While they may be nothing new or original, they work so well here it is easy not to care. Some of these scene may even hit those who normally don't care for romance movies, because they are executed so well. The humor in this film is excellent. I saw it in a packed theater and the audience laughed heartily at many of the jokes.
Unfortunately a subplot involving another girl interested in our main male character doesn't quite work, but it is not too intrusive.
This is an excellent movie that will even delight those who are neither fans of anime or romance.
-Michael J. Ruhland
Note: I saw almost all of this film. I watched it in a movie theater, and there was a power outage during the climatic battle. Because of this I did not actually see how it ended but saw pretty much the whole movie and since I avoid spoilers in my reviews, I am going to write this review anyway. I may make another post with my comments on the ending when I see it.
Michael's Movie Grade: B+
An excellent Marvel movie that makes for a welcome return for the movie franchise.
Black Widow is my favorite type of Marvel movie and one I am glad to see they are still making. That is to say, it is a smaller scale movie and one that works equally as a standalone movie. You don't need to have seen any previous Marvel film to understand and enjoy Black Widow but if you have, you will see many ways that it ties in. While I have nothing against the bigger scale movies or the ones that feel like a chapter in a larger story, sometimes this is the type of film I want to see and I am that these films are still being made. The story is pretty simple and nothing especially original but since the Black Widow doesn't have its sights on being anything more than a fun action movie this is no problem.
Despite any unoriginality in the story, I simply had a ball watching this movie. Marvel Studios knows how to entertain and they certainly show that here. With a great dose of humor and action this is a blast to watch. In the humor department, the co-stars steal the show from our main hero. Natasha's sister and father get an incredibly amount of laughs. This is heavily due to the great performances of Florence Pugh (I like her more with each new movie I see her in) and David Harbour. Both have fantastic comic delivery and even get laughs out of some weaker jokes. The father may be a dumber character but unlike most dumb dad characters, the humor does not come from this but rather from the incredible amount of fun and the lack of pretentiousness behind him. When we see him in prison simply having the time of his life there, we are not laughing at him but with him and honestly that makes all the difference. The sister is a fantastic character all around and her sarcasm and willingness to make jokes at the most dangerous times, clearly endear her to us. The bickering between her and Natasha is very funny, from her calling at Natasha for making fighting poses each time she lands to her calling Iron Man, Captain America and Thor, "the big ones," when talking about the other Avengers. Yet when either character needs to be dramatic and serious, Florence Pugh and David Harbour also pull off these scenes perfectly while still remaining perfectly in the same characters they play in the comedic scenes. Both of them also have amazing chemistry with Scarlet Johansson. The action scenes are everything you could want from a Marvel movie. They are exciting and simply tons of fun. They also look incredible on a movie screen and make a perfect showcase for the MCU's return to theaters.
Unfortunately this movie suffers from a weak and quite boring villain. He doesn't receive much screen time and what there is of him is simply not that interesting.
All and all, this was just what I wanted from the MCU's big screen return and a welcome return to smaller, somewhat self contained storytelling after the Marvel streaming shows (Though I did love Wandavision and enjoy Loki).
Hello my friends and happy Saturday Morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with a unique Mickey Mouse short, Minnie's Yoo-Hoo (1930). The title song was written by Carl Stalling (later of Looney Tunes fame) for an earlier Mickey cartoon entitled Mickey's Follies (1929). This was the first original song from the Disney studio and it would become the theme song for the series with an instrumental version beginning every Mickey cartoon. This short presents a sing-a-long version of the song. The version heard here includes a second verse, that was not heard in Mickey's Follies but did appear on the song sheet that was published later the same year that it first appeared inn that cartoon. This short was made for The Mickey Mouse Clubs that appeared around the country. These were created by theatre owners and were gatherings of movie loving kids who were fans of Mickey Mouse. Walt loved this idea and while he did not start it he did all he could to expand it across the country. He also made this short so that club members could sing along during their meetings. There is very little new animation here. There is reuse of animation of Mickey and friends performing the song at the beginning that comes from Mickey's Follies. The animation of the curtain opening and closing was lifted from Fiddling Around (1930)
Next comes my personal favorite Pink Panther cartoon, Dial "P" For Pink (1965). Like all Pink Panther cartoons Henry Mancini's musical theme for Blake Edward's feature film, The Pink Panther (1963). However this cartoon also uses theme from its sequel, A Shot in the Dark (1964).
Next comes a pretty darn good, later day Looney Tunes short, Duck Dodgers in Attack of the Drones (2004). This is one of a series of Looney Tunes cartoons planned to be released in theaters following the feature film, Looney Tunes Back in Action (2003). However when that movie disappointed at the box-office, it was decided not to release these shorts theatrically. That is a shame because these shorts were quite good and deserved the theatrical release. Futurama fans will recognize Dr. Zoidberg in a cameo. Rich Moore this film's director had also directed episodes of that TV series.
Up next is the Van Beuren, Rainbow Parade cartoon, A Waif's Welcome (1936). The Rainbow Parade series was started by Burt Gillett. The Van Beuren studio was no receiving the same success that the Disney or Fleischer studios were and it was felt that brining in a successful director in to head the animation studio was the best solution. So Burt Gillett who had directed the most popular cartoon short at that time, Disney's The Three Little Pigs (1933) would become the head of the whole cartoon studio. There were however constant riffs between him and those who had worked at the studio for a long time. Animator Jack Zander would later say, "He worked like Walt did. We'd do pencil tests. Of course when we were working at Van Beuren, nobody ever heard of a pencil test. We'd just animate and they'd ink and paint it and that's all there was to it, He initiated pencil tests and movieolas. We'd have to animate this stuff and look at it; he'd look at it and then he'd make changes. It was a very stimulating thing. The only ones who had any trouble were the real old animators, animating for years in a set manner. They found it to difficult to adjust." Animator I. Klein went much further on the last comment stating, "The people who were there before him felt, 'why the hell did they take this swell-head from Disney?' They often took that attitude, you know; very seldom did they say, 'Gee that's great - a good man came in,'" However one can't argue that some of the animosity was partly Gillett's fault. Klein also stated, "He was constantly firing people. There was a swinging door all the time, people coming and going." The following is an exhibitor's review from The Motion Picture Herald, "A Waif's Welcome: Rainbow Parade Cartoons - Just a colored cartoon and not so hot. Why not stay by Molly Moo Cow. C.L. Niles - Niles Theatre, Anamosa, Iowa. General Patronage."
Now it is time for a Garfield Quickie.
Up next is a classic Tex Avery one shot cartoon for MGM, Doggone Tired (1949). This short shows Tex Avery doing what he does best taking a simple one joke idea, but still getting more laughs out of it than any other cartoon director could.
