Silent Films on TCM for April 2025

 

As I know many of you, like me, are fans of both silent movies and TCM. Here is a list of silent films that on playing on TCM this April.

Wednesday April 2nd

Sherlock Jr. (1924) Director: Buster Keaton. Starring Buster Keaton and Kathryn McGuire. 1am Pacific. 4am Eastern. 

Sunday April 6th

The New Klondike (1926) Director: Lewis Milestone. Starring Thomas Meighan and Lila Lee. 9pm Pacific. 12am Eastern. 

Sunday April 13th

The Oyster Princess (1919) Director: Ernst Lubitsch. Starring Ossi Oswalda and Harry Liedtke. 9pm Pacific. 12am Eastern. 

Thursday April 17th

The Life and Passion of the Christ (1907) Director: Ferdinand Zecca. 4am Pacific. 7am Eastern. 

Sunday April 20th

Ben Hur: A Tale of the Christ (1925) Director: Fred Niblo. Starring Ramon Novarro and May McAvoy. 9pm Pacific. 12am Eastern. 

Sunday April 27th

Dogs of War (1923) Director: Robert F. McGowan. Starring Our Gang. 8:30pm Pacific. 11:30pm Eastern. 

The Temptress (1926) Director: Fred Niblo. Starring Greta Garbo and Antinio Moreno. 9pm Pacific. 12am Eastern. 

Monday April 28th 

The Mysterious Island (1929, part talkie) Director: Lucien Hubbard. Starring Lionel Barrymore and Jacqueline Gadsden. 11:45am Pacific. 2:45pm Eastern. 

Cowboy Church #212

 Hello my friends and welcome back for another service of Cowboy Church. 

Today's musical selection begins with Roy Rogers and Dale Evans with Read the Bible and Pray. This recording comes from the husband-and-wife duo's 1959 gospel album, Jesus Loves Me. They are backed by Jack Marshall's Orchestra and Choir. 

This is followed by Glen Campbell with Softly and Tenderly.  The song was written by an Ohio businessman named Will Thompson in 1880.  As well as writing gospel songs Thompson also wrote quite a few secular songs and parotic songs. When the songs he wrote were rejected by publishers he created his own company, Will L. Thompson & Company. This company would not only publish music by sell musical instruments. Softly and Tenderly first appeared in 1880's Sparkling Gems, Nos. 1 and 2, a collection of songs from the company. When evangelist Dwight L. Moody was on his death bed he told the songwriter, "Will, I would rather have written ‘Softly and Tenderly Jesus Is Calling’ than anything I have been able to do in my whole life." This was appropriate as Will decided to make songwriting his career while at a meeting held by Moody. 

Afterwards is Henry Burr with his 1918 recording of Just a Baby's Prayer at Twilight (For Her Daddy Over There). This is a sentimental World War One tune that still pulls on the heart strings today. 

Then comes Ricky Skaggs with This World is Not My Home. This recording comes from Ricky's 2009 album, Songs My Dad Loved.

Next is Raelynn with If God Took Days Off.

Next is Johnny Cash with The Old Rugged Cross. The song itself dates back to 1913 and was written by evangelist, George Bennard. Actually the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then. This version of the song comes from John's 1975 album, Johnny Cash Sing Precious Memories. This album (which entirely consists of traditional gospel songs) abandons John's traditional sound for a more lush and orchestrated sound. Much of this was due to arrangements by Bill Walker, who had been the musical director for John's TV show. This album was dedicated to John's late brother Jack, who had died at the age of 15 in a sawmill accident. His death took its toll on John and affected him for the rest of his life. This is written on the back of the album, "Dear Jack, We lost you one sad day in May 1944. I was twelve years old. Some of these songs were the songs we sang at your funeral. As you were dying you gave us a description of heaven and singing angels. Could these be some of the songs the angels were singing? See you later. Your little brother J.R."

Then comes Kris Kristofferson with Love Is the Way. This song comes from Kris's 1986 album Repossessed, one of the great singer/songwriter's most political albums. 

Today's musical selection concludes with The Sons of the Pioneers with their 1941 recording of What Wonderful Joy. Though many don't want to give their loves to Jesus because they don't want to give up their sins, the truth is that the joy Jesus can give us is greater than anything we may get out of sinning. This song is about the incredible joy that only Jesus can provide. This recording is very much a duet between two members of the band. Lloyd Perryman and Bob Nolan share the main vocal duties on this song and both sound as great as ever. 

Now for some words from western writer Louis L'Amour.

Now for a message from Billy Graham.

Whoever gives to the poor will not want, but he who hides his eyes will get many a curse. Proverbs 28:27

Whoever oppresses a poor man insults his Maker, but he who is generous to the needy honors him. Proverbs 14:31

Jesus answered, “I am the way and the truth and the life. No one comes to the Father except through me." John 14:6

If my people, who are called by my name, will humble themselves and pray and seek my face and turn from their wicked ways, then I will hear from heaven, and I will forgive their sin and will heal their land. 2 Chronicles 7:14

Repent, then, and turn to God, so that your sins may be wiped out, that times of refreshing may come from the Lord. Acts 3:19

The Lord is not slow in keeping his promise, as some understand slowness. Instead he is patient with you, not wanting anyone to perish, but everyone to come to repentance. 2 Peter 3:9

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Tweety's High-Flying Aventure (2000)

 

Tweety's High-Flying Adventure marked the first Looney Tunes feature film to be released direct to video. It also marks the first time that Tweety headlined a feature length movie. 

In this update of Jules Verne's Around the World in 80 Days, Cornel Rimfire is frustrated after again failing to capture Cool Cat. He claims that a cat must be the smartest creature in the world and that no one can outsmart them. Granny claims that her canary Tweety can outsmart any cat. This leads to a bet between Granny and the Cornel that Tweety can fly around the world in eighty days getting the paw print of a putty tat in each of those days. However, as Tweety goes on this adventure, he is followed by Sylvester who plans to eat him. 

Like most direct to video movies based off classic cartoons, this film is more charming than actually funny. Despite this though the movie always puts a smile on my face. The storyline is charmingly simple and silly in the best way possible. This feels like a feature length cartoon but at the same time at 70 minutes moves by quickly and never overstays its welcome. While none of the gags are really laugh out loud funny, none of them are bad either. Quite a few of them even made me smile. Our favorite Looney Tunes characters (even the ones who receive just little cameos) are just as likable and fun here as in their classic shorts. Even the new character, a female canary named Aoogah (who would later appear in another Looney Tunes direct to video movie, King Tweety (2022)) is quite likable and charming. 

This film's background art has a crayon-based look reminiscent of a child's artwork. While there is nothing wrong with this type of artwork and it often looks very nice, it doesn't always mesh well with the more traditional look of the characters. This movie also has a few song numbers in it. Unfortunately, the songs are rather bland and instantly forgettable. 

This movie had three credited directors and three credited writers. The credited directors are Karl Toerge, Charles Visser and James T. Walker. Karl Toerge would later direct the Tom and Jerry TV short, The Mansion Cat (2001) as well as all the episodes of the children's TV show, Dinosaur Train. He is much more prolific as storyboard artist working on such TV shows as BraveStar, The Smurfs, Sonic the Hedgehog and Baby Looney Tunes. Charles Visser was a director on such TV shows as Animaniacs, Pinky and the Brain, Scooby and Shaggy Get a Clue and The 7D. He also directed another Looney Tunes direct to video movie, Bah Humduck: A Looney Tunes Christmas (2006). James T. Walker has had a long career as an animation timing director having worked on many TV shows for Hanna-Barbera, Disney and Warner Brothers Animation (including The Looney Tunes Show and New Looney Tunes) as well as many direct to video movies starring the likes of Tom and Jerry, Scooby-Doo and many of the DC superheroes. All three of these directors had worked with Sylvester and Tweety previously in the excellent TV series, The Sylvester and Tweety Mysteries.  

The credited writers are Tom Minton, Tim Cahill and Julie McNally Cahill. Tom Minton has worked as a writer and storyboard artist on such TV shows as Mighty Mouse: The New Adventures, Tiny Tunes Adventures, Animaniacs, Baby Looney Tunes, Duck Dodgers, Tom and Jerry Tales, Littlest Pet Shop and New Looney Tunes. The husband-and-wife team of Tim Cahill and Julie McNally Cahill have worked on such shows as Animaniacs, Histeria, Baby Looney Tunes and The Tom and Jerry Show. They are credited as developing the TV series Littlest Pet Shop as well and they also worked on the direct to video movies Tom and Jerry: The Magic Ring (2001) and Baby Looney Tunes: Eggs-traordinary Adventure (2003). Again all of these writers worked on the TV series The Sylvester and Tweety Mysteries, making this movie a spiritual successor to that wonderful TV show.

Like most Looney Tunes movies, this film benefits from a very strong voice cast. The majority of the major Looney Tunes characters were voiced by Joe Alaskey. He provided the voices for Tweety, Sylvester, Bugs, Daffy, Marvin, Colonel Rimfire, Henry Hawk and Pepe Lew Pew among others. Alaskey is best known for his work with the Looney Tunes characters, however his voice acting career is more varied than that. He voiced Plucky Duck in Tiny Toons Adventures, Grandpa Lou in Rugrats, Droopy in the direct to video Tom and Jerry movies, Stinkie in Casper (1995) and even Richard Nixion in Forest Gump (1994). He did not voice Yosemite Sam, despite having voiced that character previously in Who Framed Roger Rabbit (1988) and Tiny Tune Adventures. Sam was instead voiced by Jim Cummings, who also voiced Taz, Rocky, Hubie and Cool Cat. Cummings is probably best known for his work at Disney, where he has voiced Winnie the Pooh, Tigger and Pete in a wide variety of films and TV shows. Cartoons fans might also know him for voicing Cat in CatDog and the Powerpuff Girls villain Fuzzy Lumpkins. Jeff Bennett voiced Foghorn Leghorn and Bertie. Bennett is probably best known as the voice of Johnny Bravo. He also voiced The Joker in Batman: Brave and the Bold. The voice of the abominable snowman and Mugsy as well as various animal sounds were provided by Frank Welker. Welker has been the voice of Fred in the Scooby-Doo franchise since 1969 and in 2002 became the voice of Scooby as well. He is also known as the voice of Megatron in many entries in the Transformers franchise. He is also an expert at making animal sounds and his animal sounds can be heard in such shows as The Simpsons, Dexter's Laboratory, Rugrats, Futurama and Superman: The Animated Series. June Foray voices Granny and Stan Freberg voice Pete Puma. They had both voiced these characters in classic theatrical cartoon shorts (or short in the case of Pete Puma). Kath Soucie returns as the voice of Lola after voicing her in Space Jam (1996). T'Keyah Crystal Keymáh (better known for her live action roles in the TV shows, That's So Raven, Cosby and In Living Color) voices the new character Aoogah. Other voice artists in this film are provided by Rob Paulsen, Tress MacNeille, Pat Musick, Julie Bernstein, Steven Bernstein and Elizabeth Lamers.

This movie was released on VHS on September 12, 2000, and later to DVD on September 11, 2007. Even though I like this film, it has not exactly been a fan favorite. It has a 55% audience score on Rotten Tomatoes (there are no critic reviews) and a 5.7/10 score on IMDB. 

The same year this movie was released there was a video game adaption for the Game Boy Color. This video game was a simple platformer, where players can play as Tweety and travel ten different locations looking for putty tat pawprints. The game received lukewarm reviews with many reviewers considering it visually appealing but formulaic. It is too bad I didn't have this game as a kid (which I was a kid at the time of its release) because I could picture kid me playing this game a lot, when I see videos of it online. 

  

Some Cartoons for Saturday Morning #224

 Hello, my friends and happy Saturday morning. Once again it is time for some classic cartoons. 

Animation fans know director Friz Freleng as a master of timing and very few comedy cartoons have come close to the perfect comedy timing of his films. This can especially be seen in his cartoon, Yankee Doodle Daffy (1943). This in my mind is one of his funniest films and just a pure delight. Despite the title, this film does not have a parotitic theme or revolve around U.S. history. With the James Cagney feature, Yankee Doodle Dandy (1942) having come out the year before, this pun was probably just too good for the filmmakers to pass up.  Look for a portrait of Friz Freleng hanging in Porky's office. A review in The Motion Picture Daily calls this film a "Pleasant little subject." The following are Exhibitor's reviews from The Motion Picture Herald. "YANKEE DOODLE DAFFY: Looney Tunes Cartoons—This studio's cartoons lately seem to be either exceptionally good or exceptionally bad. This is downright terrible. - W. Verricks Nevins, III, Alfred Co-op Theatre, Alfred N.Y." "YANKEE DOODLE DAFFY: Looney Tunes Cartoons—Good cartoon, but where does it get its name? - Ralph Raspa, State Theatre, Rivesdale, W. Va." "YANKEE DOODLE DAFFY: Looney Tunes Cartoons - Average color cartoon. - E.M. Freiburger, Paramount Theatre, Dewey, Okla." 

Now for the classic UPA cartoon, Georgie and the Dragon (1951). This movie was directed by Robert "Bobe" Cannon, one of my favorite UPA directors. He had previously been an animator for both Chuck Jones and Bob Clampett's units at Warner Brothers and even Tex Avery at MGM. He even worked on the Disney feature film, Melody Time (1948). As a director he made some of the best UPA shorts including one of the studio's most famous films, Gerald McBoing-Boing (1950). 

 Next comes a short film from the husband-and-wife team of John and Faith Hubley, The Tender Game (1958). This duo brought us some of the most artistic and lovely animated short films of all time. The music on this film is by Ella Fitzgerald (the queen of jazz) and Oscar Peterson (a wonderful jazz pianist). 

Here is an animated insert that John and Faith Hubley made for Sesame Street. 

Now for the Fleischer Superman cartoon, The Eletric Earthquake (1942). For a studio that was best known for silly comedy cartoons like the Popeye and Betty Boop shorts, Fleischer Studios adapted itself extremely well to the action/adventure genre with these films. Even with the flux of superhero cartoons that have followed many still view these shorts as the gold standard when it comes to superhero animation. The makers of such shows as Batman: The Animated Series, Superman: The Animated Series, Batman Beyond and Justice League Unlimited have cited these short films are their primary influence. 

Now it is time for a commercial break. 

To this day some of the most popular cartoon shorts among Disney fans are the ones that used Mickey Mouse, Donald Duck and Goofy as a comedy team in the same vein as Laurel and Hardy, The Marx Brothers or The Three Stooges. The first of these was Mickey's Service Station. This was also the only one that was in black and white instead of color. In fact there would be only one more Mickey Mouse cartoon in black and white, which would be Mickey's Kangaroo (released later the same year). A quick bit of writing from an issue of The Film Daily (dated March 14, 1935), lets us know where this cartoon premiered, as well as the feature it played with. "Walt Disney's newest Mickey Mouse cartoon, 'Mickey's Service Station' is to have its premiere at the Rivoli Theater tomorrow on the bill with Samuel Goldwyn's 'The Wedding Night' in which Gary Cooper and Anna Sten are co-starred "Here is what some theater owners had to say about this cartoon in The Motion Picture Herald. "Mickey's Service Station: Mickey Mouse- Good filler lots of laughs and excitement. Running time, 1 reel - Rudolph Duba. Royal Theater, Kimball S. D. Small town patronage" "Mickey's Service Station: Mickey Mouse- A dandy cartoon. Mickey Mouse means something at our box office.- J.W. Noah, New Liberty and Ideal Theaters, Ft. Worth, Texas. General patronage."

Now for the silent Out of the Inkwell short, The Cure (1924). 

Continuing today's selection of classic cartoons is Popeye The Sailor Meets Sinbad The Sailor (1936). This is the first of the three Popeye two-reel specials (plus the first color Popeye) and one of the most popular Popeye cartoons. Running at 17 minutes this is twice as long as the usual Popeye film, yet the filmmakers work this to their full advantage. It never feels too long, and the extra time lets the filmmakers put in a more atmospheric fantasy like feel to this cartoon. This would be the first Popeye nominated for an Academy Award and received the 17th spot in Jerry Beck's book, The 50 Greatest Cartoons. A review in The Film Daily called the cartoon "Top Notch." However not everybody was so impressed by this film as evidenced by the following Exhibitors reviews from The Motion Picture Herald. "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor series - Good color but did not bring extra business like Paramount said it would. -Fisher & Bichler, Mattray Theatre, Strasburg, N.D." "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor special - Worth twice as much as regular Popeye but no more. I paid more and that makes me a dissatisfied customer. - W. H. Brenner, Cozy Theatre, Winchester, Ind. General Patronage." "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor cartoons - This much Balley-hooed two-reeler, all color, third dimensional cartoon failed to come up to the entertainment value of the single reel black and white Popeye series. - M.R. Harrington, Avalon Theatre, Clatskanie, Ore. - Small Town and rural patronage."

Let us end today's cartoon selection with a classic Simpsons clip from the episode, 22 Short Films About Springfield (1996). 

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

The 50 Greatest Cartoons edited by Jerry Beck

Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin

Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald 

Walt Disney's Mickey Mouse: The Ultimate History by David Gerstein and J.B. Kaufman

https://lantern.mediahist.org/

 

Movie Review: My Love Will Make You Disappear

 

Michael’s Movie Grade: F

A bottom of the barrel romantic movie from the Philippines. 

This movie has a simple and silly premise. Whenever a young woman falls in love with a man and kisses him, he completely disappears. Though silly, this premise could lead to a very clever and fun romance film. Instead, the filmmakers simply go for the easiest clichés and put as much effort into them as you would see in a Hallmark movie. At every moment you know exactly what will happen next and at a certain point it is hard to care anymore. This is not helped by incredibly bland characters whose only personalities are the cliché roles they play in the story. The humor is even a worse offender. Not only does every joke in this romantic comedy fall flat but these gags are worse than simply being unfunny. They are loud, obnoxious and painful to watch. I wanted to walk out of the theater so many times over the course of this movie. 

Simply avoid this at all costs. 

Video Link: Is Universal Studios Living Up to Expectations? - Universally Me

Movie Review: Death of a Unicorn

 

Michael's Movie Grade: C+

A dumb but enjoyable horror-comedy. 

For all the gore coming from people being brutally killed by unicorns, this movie has an oddly sweet heart at its center. The father daughter relationship starts out as very cold but actually morphs into something touching by the end. For a movie about unicorns killing people, this relationship actually develops in a believable way. This is of course helped by having these two characters played by Jenna Ortega and Paul Rudd. The likableness of this relationship helps us actually care about what happens in a film where every other character is quite unlikable. 

The storyline is very familiar here, but it unfolds at a fast pace and is never boring. The humor is pretty hit and miss. Quite a bit of the comedy can fall flat but when the movie is funny it is laugh out loud hilarious. However, as a horror-comedy, this movie is never even once remotely scary. Even the usually reliable jump scares don't illicit any actual fear. The social commentary often falls flat because it is extremely on the nose with no subtlety whatsoever, as well as not saying anything that many more movies haven't already said better. 

While, this movie has its flaws, it never takes itself too seriously and the main characters are likable. This gives it a certain feeling of dumb fun that I enjoyed, even if the movie itself is far from a great one. 

Space Jam (1996)

 

Space Jam actually had its origins in TV commercials. Bugs Bunny and basketball player, Michael Jordon had appeared in a pair of Nike commercials together. Despite Warner Brothers' initial resistance to place Bugs Bunny in commercials with Michael Jordon, these commercials proved to be incredibly popular. During a conversation between a Nike executive and producer Ivan Reitman (director of Stripes (1981) and Ghostbusters (1984)) lead to the idea of expanding these commercials to a feature length movie. The director placed in charge of this feature film would be Joe Pytka, who had directed the TV commercials. In the fall of 1994, the film would begin production. This would be Pytka's second non-documentary feature film. As such Reitman claimed that he helped out a lot with the directing stating, "Pytka was definitely the director of the movie, but in fact, I was the director of the movie because I ended up doing all the animation. When it came to the big game, between the all-stars and the real basketball players, I ended up doing most of that stuff." 

Michael Jordon had never appeared in a movie before this. He had been offered film roles before, but his manager David Falk made him turn the roles down feeling the Jordon should only appear as himself. To have Jordon in the movie took up $16 million of the film's budget. 

It was originally planned for this movie to be animated at Warner Classic Animation, but Ivan Reitman decided instead to do the animation at his own company, Northern Lights and hire his own animation crew. This crew would be led by Jerry Rees and Steve Leiva. However, production began to fall behind schedule and Ron Tippe from Warners Feature Animation became one of the film's producers. Added to the film's animators were artists from Warners' Glendale unit, who were busy working on the movie, Quest for Camelot (1998), which was having a troubled production as well. Because of this additional help was done by studios such as Premiere, Uli Meyer, Stardust, Warner Feature Animation London, Character Builders, Heart of Texas, Calibash, Canuck Productions and High Horse. Even artists from Dreamworks worked on this picture. About 500 animators worked on this film and were given less than a year to complete it before the release date of November 11, 1996. This escalated the budget to $110 million.  

This film's storyline is appropriately looney. After retiring from basketball and becoming a baseball player, Michael Jordon's sports career is really struggling. His kids are tired of being a laughingstock thanks to Michael's poor performance on the ballfield. Meanwhile a group of tiny aliens are told by their boss to forcibly bring the Looney to perform at his struggling theme park. When the aliens arrive in Looney Tune Land to force the Looney Tunes to come with them, the tunes take notice of the aliens' small stature. Because of this they decide to challenge the aliens to a basketball game. However, the aliens end up stealing the talent and stature from some of the world's greatest basketball players. Fearing that they might lose the game, the Looney Tunes go to Michael Jordon for help.

While not a perfect movie, Space Jam is a lot of fun. The storyline may be very silly, but this is a Looney Tunes movie, so that works just fine. This story unfolds at a brisk pace and the hour, and a half is over before you know it. There is not one dull moment in this whole movie. The humor itself can be a bit hit or miss but when it is funny, it is really funny. Like the classic Looney Tunes, the humor here mixes silly cartoon slapstick with some clever satire. The scenes involving the basketball players after their talent was stolen are especially clever and an example of comedy that will appeal to the adults more than the kids. Some of the slapstick involving the Looney Tunes can be quite funny, especially during the big game. Sniffles' cameo is laugh out loud funny. These truly funny moments are funny enough to make up for the comedic parts that fall flat like most everything involving Wayne Knight's character and some forced fart and butt jokes. The animation of the Looney Tunes characters is surprisingly consistently strong considering the number of animators working on the film (some of the cartoony effects involving the live action characters don't hold up so well though).

The voice work by Billy West (Bugs, Elmer Fudd), Dee Bradley Baker (Daffy, Taz), Bob Bergen (Porky, Tweety, Marvin, Barnyard Dawg, Hubie and Bertie), Bill Farmer (Sylvester, Yosemite Sam, Foghorn Leghorn), Maurice LaMarche (Pepé Le Pew), June Foray (Granny), Kath Soucie (Lola) and Danny De Vito (the film's villain) is excellent, especially for a film made only a few years after Mel Blanc's death. These voice actors truly help make these characters feel the same as they do in the classic cartoons. This voice cast will be familiar to any cartoon fan. Billy West is probably best known for voicing Fry, Professor Farnsworth, Dr. Zoidberg, Zapp Brannigan and Nixon on Futurama as well as the title characters of The Ren & Stimpy Show. Dee Bradley Baker has voiced many incidental and supporting characters in TV cartoons as well as Klaus in American Dad and Perry the Platypus in Phineus and Ferb. Bill Farmer has been the voice of Goofy since 1987. Maurice LaMarche voiced the Brain in Animaniacs and Pinky and the Brain as well as Kiff on Futurama. Kath Soucie was the voice of Phil and Lil in Rugrats, Fifi La Fume and Li'l Sneezer in Tiny Toon Adventures and most famously Dexter in Dexter's Laboratory. June Foray is of course a voice acting legend and had voiced Granny in many of the classic shorts. Jack Plance was originally going to voice the villain, but Danny DeVito took over the role. As a reason for this W.R. Miller wrote in Jerry Beck's The Animated Movie Guide, "Danny DeVito replaced him for the same reason Bill Murray was in the picture: he's friends with the producer."  

One rule of thumb imposed on the artists of this movie is that none of the Looney Tunes could be taller than Michael Jordon. Bugs Bunny was used as the yardstick when it came to these characters and measured at 3 feet and 3 inches. A total of 83 Looney Tunes characters appear in this film, most of them as cameos. 

Unfortunately, Reitman refused what would have been the movie's greatest Easter Eggs. These included caricatures (or real photos) of the classic Looney Tunes directors in Town Hall and a statue of Looney Tunes producer Leon Schlesinger. Animation buffs can bemoan that these weren't included in the final film. 

Probably the biggest effect this movie had on the Looney Tunes franchise was the introduction of Lola Bunny. This character would go on to appear in Baby Looney Tunes, The Looney Tunes Show, New Looney Tunes, the Looney Tunes web cartoons, Tweety's High Flying Adventure (2000), Looney Tunes: Rabbit's Run (2015) and of course the sequel Space Jam: A New Legacy (2021). She would become a fan favorite and is the most popular Looney Tunes character to not appear in the classic shorts. 

The movie did fairly well at box office, grossing $90.5 million in the US and $250.2 million worldwide. It earned $27.5 on its opening weekend. Despite this success, it did not gross as much as the studio had hoped and this (and the box-office bombing of Tim Burton's Mars Attacks (1996)) lead to Ted Turner order staff cutbacks throughout the corporation including some in Warner TV Animation. 

Critical response was rather mixed. Siskel and Ebert gave the film two thumbs up. Siskel enjoyed the movie with reservations, while Ebert loved it. Ebert would write a review stating, "Space Jam is a happy marriage of good ideas—three films for the price of one, giving us a comic treatment of the career adventures of Michael Jordan, crossed with a Looney Tunes cartoon and some showbiz warfare. ... the result is delightful, a family movie in the best sense (which means the adults will enjoy it, too)." Leonard Maltin in his movie guide gave the film three out of four stars stating, "Jordan is very engaging, the vintage characters perform admirably ... and the computer-generated special effects are a collective knockout." TV Guide was much more critical giving it only two stars and stating, "cynical attempt to cash in on the popularity of Warner Bros. cartoon characters and basketball player Michael Jordan, inspired by a Nike commercial." Someone who was not a fan of this movie was Chuck Jones (who had directed many classic Looney Tunes shorts). Chuck would clearly state, "I thought it was terrible." He felt the Looney Tunes were out of character here and that Bugs would not need help to defeat the aliens. He also hated one line in particular stating, . "I can tell you, with the utmost confidence, Porky Pig would never say, 'I think I wet myself.'"



Heavily due to Quad City DJ's title song, Seal's cover of Steve Miller's Fly Like an Eagle and R. Kelly's, I Believe I Can Fly, the soundtrack album reached No. 2 on the Billboard Top 200.

This movie also received a 1996 video game adaption for PlayStation and Sega Saturn. That game of course mostly revolves around playing basketball, though the game begins with you as Daffy having to find Michael Jordon's uniform while avoiding the family dog and later has you play as Bugs in a minigame where you find water for "Michael's Secret Stuff". The game would get horrible reviews and would justifiably be forgotten. 

Resources Used

The Animated Movie Guide Edited by Jerry Beck

Leonard Maltin's Movie Guide by Leonard Maltin

https://www.looper.com/211131/the-untold-truth-of-space-jam/

https://cartoonvibe.com/lola-bunny/

Movie Review: Black Bag

 

Michael's Movie Grade: B

An intelligent and tense spy thriller. 

This is a spy thriller that relies more on characters, dialogue and plot twists than action. Actually, until the last act there is barely any action here.  Director Steven Soderbergh knows that the real heart of this film lies in the relationship between Cate Blanchett and Michael Fassbender's characters. This relationship is completely gripping. These are two characters who seem completely cold and emotionless. However, the one thing that each of them cares about is the other. Their love for each other is the only professional weakness of these otherwise perfect spies. This dynamic between them is explored in very intelligent and thought-provoking ways. While these characters may at times be far from likable, they are always fascinating to watch and keeps our eyes glued to the screen whenever they are on. The great chemistry between Cate Blanchett and Michael Fassbender is also wonderful and I want to see these two share the screen in many more movies in the future. Because we are so absorbed by these characters, we find ourselves caring about what happens next in the story. Though the story may revolve around multiple McGuffins, the plot twists are very smart and well done. They can surprise us, but they never come out of nowhere. 

As good as this movie is when it focuses on our main characters, it often lost my interest whenever it drifted from them. Though the pacing did not slow down during these scenes, it could often feel like the film came to a halt, when attention drifted from our main characters. 

Despite some flaws, this is a very gripping and smart film. 

Movie Trailer: Drop

Movie Trailer: A Working Man

Movie Review: Snow White

 

Michael's Movie Grade: F

A disgrace to the Disney name and an insult to Disney fans. 

The classic 1937 Disney film was truly a passion project for all involved. That movie was made by filmmakers who had before this been working on seven-to-ten-minute comedy cartoons. Making an animated feature that was designed to pull on the heart strings as much as make people laugh was something that no one at the Disney studio had done before. Because of this they all felt a great amount of excitement, while making it. The passion that these filmmakers had for what they were doing can be felt in every scene of the animated classic and that is what makes that such a great movie. This makes it all the more disheartening that this remake feels completely soulless and lacking in any warmth or charm. Unlike the 1937 original, you never get the feeling that the filmmakers behind this remake have any passion for the story they are telling. Rather than a passion project this just feels like a studio simply pumping out yet another live action remake.

Disney fans also know that during the making of the 1937 film, Walt cut out the soup eating scene because while it was enjoyable, it didn't add to the story but instead interrupted it. When you watch the 1937 movie, you will notice that even sequence whether comedic or serious added to the story and characters, making for a tight film that flows perfectly from beginning to end. This remake on the other hand feels completely padded with too many subplots. The result this time is a movie that feels much longer than it actually is. 

However, even if you weren't to compare this remake to the 1937 classic, it is still a terrible movie. The new songs here are incredibly bland and forgettable. The best Disney musicals have songs that stay in your head long after you leave the theater. The new songs here, you will probably have a hard time even remembering when the end credits start. It is hard to believe these songs were written by Acadamy Award winning songwriters Pasek and Paul, who won an Acadamy Award for the song City of Stars (from La La Land (2016)) and were nominated for writing This is Me (from The Greatest Showman (2017)). For Disney they even wrote some of the new songs for their live action Aladdin (2019). There are also new words added to the songs from the original film. These new verses are absolutely painful. This movie is also full of incredibly clumsy dialogue that takes out any bit of believability it might have had. The CGI in this movie is truly awful. This is true of Snow White's animal friends and the CGI heavy environments. For instance, the running into the scary woods scene, which was wonderfully atmospheric in the 1937 movie, is unintentionally funny here. However, the worst offender is the dwarfs here. The very idea of having the dwarfs be CGI instead of played by actual smaller actors is already a terrible idea. This is made worse by the ugly designs that look completely out of place alongside live action actors. The way these characters move is just as awful. There is nothing lifelike or believable about the way these characters move. The result is that you never truly believe that these characters are occupying the same space as the live action actors, which makes it hard for this fantasy world feel real to us. Their dancing during the song numbers is truly awful and will provide many unintentionally laughs. However, these dwarfs never get any actually intentional laughs. Every comedic scene with these characters is not only unfunny but so poorly done that they are painful to watch. 

This is the nadir of all the live action Disney remakes. While I haven't always been a fan of these movies, this new film makes the worst of the previous Disney remakes feel like cinematic masterpieces.  

Movie Review: On Becoming a Guinea Fowl

 

Michael's Movie Grade: A-

A powerful movie from Zambia. 

This film begins with a young woman driving home from a party and finds her uncle lying dead on street. What unfolds from here is a powerful meditation on death, hypocrisy, family and cultural traditions, prejudice and sexual assault. Though the story is steeped in the culture and traditions of Zambia, what it has to say about these themes are truly universal. No matter what country you live in you, this film is equally as timely and important. This may not be an easy movie to watch at times and often it will make you feel uncomfortable and angry but that is exactly what makes this it so powerful. By the end of this movie, I felt myself having been shaken straight down to my core. As well as emotionally effective this is also an extremely smart movie and will leave you with much food for thought after it is done. Luckily the seriousness of what this film is balanced out by some excellent dark humor, that offers you brief relief, while never playing down the seriousness of what this movie has to say. The movie also benefits from very complex characters, that we learn more about as the film goes on as well as an incredible lead performance from Susan Chardy. 

I am keeping this review short because it is better to go into this film knowing as little as possible. However just know that this is a true must see. 

Movie Review: The Last Supper

 

Michael's Movie Grade: B

A surprisingly pretty good movie. 

I read some reviews before actually seeing this film. After reading the reviews I came into this movie with very low expectations. Maybe these low expectations were a factor here, but I ended up really enjoying the film. This is a basic but effective retelling of Jesus' life. Much of the dialogue here comes directly from the bible and this authenticity adds to the movie's charm. What also helps this movie so much is that its heart is always in the right place. This is such a well-intentioned film that it is hard not to fall for its charms. The simple and direct way the story is told adds even further to these charms. While none of the acting truly stands out here, the actors all do a well enough job. The visual filmmaking will never amaze you, but it is always competently done.  

The only thing about this movie that really doesn't work are the scenes where Judas is tempted by Satan, who is in the guise of a serpent. This was a very unnecessary addition to the story and one that doesn't really add anything. In fact, I found it distracting as it felt like it belonged in a different film. 

For the most part though this is a well-done film but one that also doesn't do anything to make it stand out from the many other movies that tell the same story. Because of this sadly this well-made movie will end up getting lost in the shuffle of the many other movies about Jesus' life. 

Cowboy Church #2011

 Hello my friends and welcome back for another service of Cowboy Church. 

Today's musical selection begins with Roy Rogers and Dale Evans with Have You Read the Bible Today. It is important for each of us to read our Bible each and every day. The Bible is not just some book, it is the living breathing word of God. It is easy for our faith and Christian Walk to become idle and stagnant and the easiest way for this to happen is to simply not read our Bible. Taking some time each day to read the Bible is the best way for our faith and our walk with God to continue growing and maturing.  This recording is the B-side of a 1955 Little Golden Record by Roy and Dale. The A-side was The Bible Tells Me So. 

This is followed by Hank Snow with I'm in Love With Jesus. 

Afterwards is Reinald Werrenrath's 1919 recording of He Leadeth Me. 

Next is Rex Allen with I Remember You Love in My Prayers. This version of the song comes from his film, Hills of Oklahoma (1950). 

This is followed by Johnny Cash with When He Comes. This song comes from John's 1979 album, A Believer Sings the Truth. This was a double length gospel album and Columbia Records felt that such an album from John could never be successful. However, Columbia allowed John to release the album on its own and it was successful earning a spot in the Country Top 50. A shorter version of the album called I Believe would be released in 1984, which would feature a select few songs from the double album, including this one. Strangely A Believer Sings the Truth would not find its way to CD until 2012. Singing backing vocals for John here are his daughter Rosanne Cash and The Carter Family. 

Now for Anita Carter with In The Highways (I'll Be Working Somewhere For My Lord).

Next is The Sons of the Pioneers with He Walks with the Wild and Lonely. This song was written by Bob Nolan, one of the founding members of the group and one of my personal favorite songwriters. When in a 1979 interview fellow cowboy singer and songwriter Stuart Hamblen asked Bob what he thought the best song he had written was, Bob answered that it was quite possibly this song. He explained why stating, "The lyrics and the music were so perfectly wed that I just couldn’t improve on it." This recording comes from the group's 1963 album, Hymns of the Cowboy. 

Today's musical selection ends with Brooke Robertson with If I Didn't Have Jesus. This comes from her 2020 debut album, Taking Back My Voice.  

Now for a message from S.M. Lockridge. 

Now for some photos from the actual old west. 

But they who wait for the Lord shall renew their strength; they shall mount up with wings like eagles; they shall run and not be weary; they shall walk and not faint. Isaiah 40:31

The Lord is my strength and my song, and he has become my salvation; this is my God, and I will praise him, my father's God, and I will exalt him. Exodus 15:2

Psalm 29

A psalm of David.

1 Ascribe to the Lord, you heavenly beings,

    ascribe to the Lord glory and strength.

2 Ascribe to the Lord the glory due his name;

    worship the Lord in the splendor of his holiness.

3 The voice of the Lord is over the waters;

    the God of glory thunders,

    the Lord thunders over the mighty waters.

4 The voice of the Lord is powerful;

    the voice of the Lord is majestic.

5 The voice of the Lord breaks the cedars;

    the Lord breaks in pieces the cedars of Lebanon.

6 He makes Lebanon leap like a calf,

    Sirion like a young wild ox.

7 The voice of the Lord strikes

    with flashes of lightning.

8 The voice of the Lord shakes the desert;

    the Lord shakes the Desert of Kadesh.

9 The voice of the Lord twists the oaks

    and strips the forests bare.

And in his temple all cry, “Glory!”

10 The Lord sits enthroned over the flood;

    the Lord is enthroned as King forever.

11 The Lord gives strength to his people;

    the Lord blesses his people with peace.

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Some Cartoons for Saturday Morning #223

 Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons. 

Today's cartoon selection starts with a very important film to all animation fans, Gold Diggers of '49 (1935). This black and white Looney Tune is so important because it is the first cartoon on which Tex Avery (here billed as Fred Avery) is the credited director. Though his timing has not quite reached the legendary level it would with his later more famous films, this is certainly a very fast paced cartoon for its day, and you can see how Tex would soon help redefine the Looney Tunes style of humor. This movie also marks the second speaking role for Porky Pig and the only one where he has the deeper speaking voice that you hear here. The real star of this movie though was Beans the Cat. Porky and Beans had both made their big screen debut in the color Merrie Melodies cartoon, I Haven't Got a Hat (1935). It seemed like many of those working at Warner Brothers felt that Beans would be the next big cartoon star for the studio, as he became the star of their Looney Tunes series for a short while, before Porky Pig would take over the series. 

Now for an educational short from the UPA studio, Look Who's Driving (1954). This film was directed by Bill Hurtz, whose other work for the UPA studio included A Unicorn in the Garden (1953) and Hotsy Footsy (1952) with Mr. Magoo. He would go on to be a director for the Jay Ward studio working with such characters as Rocky, Bullwinkle, Super Chicken, Dudley Do Right, George of the Jungle, Hoppity Hooper, Mr. Peabody and Sherman. 

Up next comes Adventures of an * (1956). This was the first film that husband-and-wife team, John and Faith Hubley made together. The work that these two did together are some of the most artistically brilliant, animated shorts of all time. 

Here is a little animation that John and Faith Hubley did that appeared on Sesame Street. 

Up next is a classic Fleischer Brothers Screen Song cartoon, Please Keep Me in your Dreams (1937). Be sure to sing along each and every one of you. 

Now it is time for a commercial break. 

The cartoons continue with one of the most famous cartoon shorts of all time, Steamboat Willie (1928). While contrary to popular belief this was not the first sound cartoon, there is no doubt that no cartoon before had used sound as well as this film did. This was the short that opened up the door for what sound cartoons could be and its effect could soon be felt on almost every sound cartoon being made. Though this was not the first Mickey cartoon made either (Plane Crazy and The Galloping Gaucho were both made before it), this was the film that made Mickey a true movie star. In fact, after the success of Steamboat Willie the two earlier Mickeys were given synchronized soundtracks because of Willie's success as a talkie. Willie brought about the idea that unlike early live action talkies (which often sparsely used music outside of musical numbers), sound cartoons would use music as just as important a part of the storytelling as the visuals. Even when studios like the Fleischer studio and Warner Brothers would make cartoons in their own style, this principal was largely employed. Walt would later recall "When the picture was half finished we had a showing with sound. A couple of my boys could read music and one of them [Wilfred Jackson] could play a mouth organ. We put them in a room where they could not see the screen and arranged to pipe their sound into the room where our wives and friends were going to see the picture. The boys worked from a music and sound effects score. After several false starts sound and action got off with the gun. The mouth organist played the tune and the rest of us in the sound department bammed tin pans and blew side whistles on the beat. The synchronization was pretty close. The effect on our little audience was nothing less than electric. They responded almost instinctively to this union of sound and motion. I though they were kidding me. So they put me in the audience and ran the action again. It was terrible but it was wonderful! And it was something new." The reaction from audiences when the film hit theatres was if anything even greater. It is hard to overstate just how incredible the reaction to this cartoon was when released. While this cartoon cannot have the feeling of newness or startling innovation it once had, it still works today wholly on an entertainment level. The truth is that this cartoon is still a lot of fun and the gags remain charming and clever over 90 years later. The film received the #13 spot in Jerry Beck's book, The 50 Greatest Cartoons. November 18, 1928, marked Steamboat Willie's debut at New York's Colony Theater and that date is now widely considered to be Mickey's birthday.

Up next is the Terry Toons cartoon, Pastry Panic (1951). This movie stars the character Little Roquefort and was directed by Mannie Davis, one of the Terry Toons studio's most prolific directors. While this film may not reach the same heights as the Tom and Jerry shorts, it is a fun little movie. 

Now for one of Walt Disney's silent Alice Comedies, Alice Gets Stage Struck (1925). This film stars Margie Gay, the third child actress to play Alice. The movie features Alice and her friends putting on a show of Uncle Tom's Cabin. A later Disney short (Mickey's Mellerdrammer (1933)) would feature Mickey Mouse and his friends putting on a performance of the same play. Uncle Tom's Cabin would be a comedy staple in many films both animated and live action. The live action portions of the Alice Comedies would be heavily inspired the silent Our Gang (or Little Rascals) shorts. The Our Gang kids had already briefly put on a version of the play in The Big Show (1923) and would soon take another stab at Uncle Tom in Uncle Tom's Uncle (1926). The Our Gang kids would return to Uncle Tom in the talkie era with Spanky (1932). Like all Alice Comedies, Alice Gets Stage Struck would be directed by Walt Disney himself. 

Today's cartoon selection ends with The Simpsons in Echo Canyon (1989). This short was made for The Tracey Ullman Show before The Simpsons got their own TV series. 

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 the American Animated Cartoon by Leonard Maltin.

The 50 Greatest Cartoons by Jerry Beck

Hollywood Cartoons: American Animation in its Golden Age by Michael Barrier.

https://www.cartoonbrew.com/brewfilms/look-whos-driving-3035.html

Movie Review: The Alto Knights

 

Michael's Movie Grade: C

An okay mobster film. 

This movie tries very hard to be like the Martin Scorsese mobster film. It doesn't fully succeed at this but that doesn't make this a bad movie. There is a lot to like about this movie. I love the stylistic choice of having certain scenes play as if we are watching a documentary that includes interviews of real gangster. I also loved the use of black and white in some of the early scenes. This gave those scenes the feeling of watching an old prohibition era gangster movie. The look of the movie changes as the decades goes on. The changes between eras are not only stylistically well done but this movie intelligently looks at the changes in American culture over these years and how the change in the culture surround them affects our main characters. The film is based off a true story about the crime bosses Frank Costello and Vito Genovese. This is a fascinating true story that is still fun to watch regardless of the flaws in its telling. The movie also benefits from some great dialogue and some gripping and fun courthouse scenes. 

 Even at only a little over two hours, it feels overlong and can really drag at times and having Robert DeNiro play two roles is more distracting than anything. I really don't understand the thought process between having the same actor play both of these rival gangsters. This is not a Great Dictator (1940) situation, where this choice has any bearing on the story. The characters are not related nor is their resemblance with each other every brought up. At the same time with both characters, it is obvious you are seeing Robert De Niro as he is easily recognizable in both roles. This simply took me out of the movie many times. I also felt that many of the side characters were completely forgettable. 

This is a very flawed gangster film, but it is still enjoyable despite this. 

X-Men Origins: Wolverine (2009)

 

After the success and conclusion of the original X-Men movie trilogy, the most natural next step would be to make a spin off film starring the franchise's most popular character. 

This film tells the story of Wolverine's (Hugh Jackman) early years and how he became the character we know today. The movie especially focuses on his rivalry with his brother Victor Creed (Liev Schreiber). 

The storyline here is that of a simple revenge flick and it offers no surprises along the way. As such this is one of those movies that is enjoyable to watch, but not long after you watch it, you can easily forget everything that actually happened. There is quite a bit here to enjoy. The action scenes are excellent and a lot of fun. While not especially deep, the rivalry between Wolverine and his brother is handled quite well and Hugh Jackman and Liev Schreiber work very well together. Wolverine is just as likable and relatable here as he was in the original X-Men trilogy and Hugh Jackman is once again wonderful in the role. The movie also has a strong ending scene that perfectly leads into the previous X-Men trilogy. 

This movie does suffer from bland and forgettable supporting characters, even those who are quite interesting in the comics and other movies. Many of the new mutants introduced here are barely developed beyond their powers. The movie is also full of cliché dialogue and humor that falls flat. 

Still the biggest problem with this movie remains, that it is so similar to other films that it simply blends in with them. Among the other X-men films (and action movies in general) this one fails to stand out. That does not mean it is a bad movie (there are definitely weaker X-men movies) at all though, as it is enjoyable for what it is.  

This movie also introduced a new director for the franchise, Gavin Hood. This would not only be his only X-Men film but his only superhero movie. This South African director had already won an Oscar for directing Tsotsi (2005), which would win for Best International Feature Film. X-Men Origins: Wolverine marks the second English-language movie that Hood directed (the first being Rendition (2007)). Though Hood was admittedly not a comic book fan, he admitted that he grew a fondness for the character while working on this film. 


This film's writers would be David Benioff and Skip Woods. Benioff is best known for being the co-creator of the TV version of Game of Thrones. His film work includes 25th Hour (2002), Troy (2004), The Kite Runner (2007), Brothers (2009) and Gemini Man (2019). Skip Woods' filmography includes Swordfish (2001), Hitman (2007), The A-Team (2010) and A Good Day to Die Hard (2013). This is the only superhero film for both writers and the only time these two would work together. 

Probably the most notable part of this film is that it introduced Ryan Renyolds as Wade Wilson (also known as Deadpool). Renyolds and David S. Goyer (best known as a writer on Christopher Nolan's Dark Knight trilogy and Man of Steel (2013)) had been working on a Deadpool movie. Yet the two were too busy working on Blade: Trinity (which Goyer directed, and Renyolds acted in) and that film fell by the wayside. Of course, a trilogy of Deadpool movies starring Ryan Renyolds would later be made but Goyer would not be involved with those. However, with this in mind, Benioff decided to write the character into this film. The take on the character here is quite different than the one used in the later trilogy. Though he talks a lot when he first appears here, he does not break the fourth wall or have his trademark meta-humor. Many believe that his character is completely wasted in this movie, and I personally have to agree. This film robs the character of anything that makes him stand out or feel unique. 

This film was a critical failure, with most critics viewing it as the weakest X-Men movie up to this time. The critical reception has not improved over time and the film only receives a 37% on Rotton Tomatoes. Hugh Jackman remains unhappy with the final project feeling that it did not delve enough into who this character is. The movie was a finical success grossing $373,062,864. Upon its release to home video the movie sold over 3,000,000 copies. 

Movie Review: The Assessment

 

Michael's Movie Grade: B+

An excellent sci-fi film. 

This movie has a wonderful premise. It takes place in a dystopian future where childbirth is not allowed unless a couple passes a series of tests known as the assessment. 

This film takes good advantage of this high concept premise. This is a smart well thought out movie that will keep you thinking long after the credits. This is especially true due to the very intelligent twist in the last act (which I dare not give away here). This is everything a third act plot twist should be. It makes perfect sense in the context of the story but also makes you have to rethink and reevaluate everything that came before. After this twist most of what came before takes on a whole new meaning but one that ultimately makes sense. This twist also leads to a very emotionally impactful ending.

Even before this twist the movie is very gripping. This film goes back and forth from being very fun to watch to purposely testing the patience of anyone watching. Yet the scenes that test your patience actually do serve their purpose and make it so that you are forced to experience the film from the point of view of our main characters. This movie also excels in world building. While the sci-fi world here holds similarities to other sci-fi worlds we have seen, it also feels very real to us because we grow a basic understanding of how such a world functions. One of the most important elements as to why this film works is because of the performances by Elizabeth Olsen, Alicia Vikander and Himesh Patel. All of them are truly magnetic here and keep your eyes glued to the screen. 

This is the first feature film for director Fleur Fortune. Fortune has previously mostly worked on music videos. His music video experience shows here as he proves himself to be an excellent visual stylist. This whole film is absolutely beautiful to look at. However, at times this can be a double edge sword. There are multiple scenes where the visuals look wonderful but distract from more than add to the story. 

While I am not a prude, I did feel that this film went much further than necessary with one sex scene. This scene felt not only gratuitous but uncomfortable to watch. Yet the movie would have worked just as well without this scene. It simply seems to be there for shock value and little else. 

Despite any flaws, this is a very intelligent and thought-provoking movie.   

Movie Review: Borderline

 

Michael's Movie Grade: B

A very entertaining darkly comedic thriller. 

This comedy-thriller revolves around a popular singer/actress and a mentally ill man who believes that the two are in a romantic relationship.  

Though the start of this movie feels tonally uneven and not as funny or tense as it should be, once it gets going this film is tons of fun. The main reason this film works, once it truly gets going is because of the mixture of how over the top the story gets with how serious the characters and actors take everything. This allows us to laugh at how over the top and silly the film can get while also taking it seriously enough to care what happens with these characters. It is the performances by Samara Weaving, Eric Dane, Ray Nicholson, Jimmie Fails and Alba Baptista that make this film so much fun. The balance between the suspense and humor reaches a perfect climax towards the last act. This one of the rare comedies (or comedy-thriller) that gets consistently funnier as it goes on. It starts off not being particularly funny but gradual gets to the point where it is absolutely hilarious. The result is a film that may not be perfect but makes you leave the theater completely satisfied. 

 I am keeping this review brief because this is one of those films that is better the less you know going in. It may get off to a bit of a rocky start, if stick around this is a pure delight of a movie. 

Charlie Chaplin Carnival #4

 Hello my friends. Once again it is time to celebrate my personal favorite filmmaker, Charlie Chaplin with a selection of his classic short films. 

Today's selection begins with Between Showers (1914). This marked the last of four Chaplin films directed by Henry Lehrman. Though Charlie never saw eye to eye with his early directors (before he began directing all his films himself), he and Lehrman never got along. Lehrman actually had a nickname in the movie industry and this was "Mr. Suicide." This was because he was well-known for having a very low regard for actors and their safety. Many extras actually refused to appear in his films for this reason. The storyline for Between Showers came from a recent series of rainstorms in Los Angeles. This short may be best known today as a Chaplin film but Ford Sterling is just as much the star of this film as Charlie. At the time Sterling was a major comedy star and one of the top draws at the Keystone studio. Some of Charlie's earliest films actually call for Charlie to essentially imamate Sterling's over the top bombastic style. Also featured in this film are Emma Clifton and Chester Conklin. The latter would after the Keystone days would reunite with Chaplin to play smaller roles in two of Charlie's feature films, Modern Times (1936) and The Great Dictator (1940). Conklin will also be a familiar face to fans of the Three Stooges as he appeared in such Stooge films as Flat Foot Stooges (1938), Dutiful but Dumb (1941), Three Little Twirps (1943), Phony Express (1943) and Micro-Phonies (1945). He may also be known for his dramatic role in Erich Von Stroheim's masterpiece Greed (1924).   

Next comes one of Chaplin's funniest short films, The Pawnshop (1916). This comedy is a pure masterpiece that provides one great laugh after another. The film features one of Chaplin's most celebrated sequences, a tour de force where he examines a watch. Though at the time he made this film, sentimentality and pathos were finding their way into much of his work, that is completely absent in this film. Instead, this short is a pure gag fast. 

For fans of silent comedy Tango Tangles (1914) is an all-star short. This film features Charlie Chaplin, Ford Sterlin, Roscoe "Fatty" Arbuckle, Chester Conklin and Minta Durfee (the first Mrs. Arbuckle). Tango Tangles is the final time that Charlie Chaplin and Ford Sterling would appear together. This is a rare film that features Charlie without an elaborate costume or makeup. Here you can see he was actually quite a handsome young man. Chaplin also gets to do his drunk act here. Before his movie career Charlie had often played a drunk on stage as part of the Fred Karno Troupe (including in the popular Mumming Birds sketch). Producer and director Mack Sennett sent these comics to the Venice Dance Hall on Abbott Kinney Pier and had them improvise the majority of the comedy (the patrons in the background are real life patrons, unaware that a movie is being made). The end result lasts around 10 minutes, making for a fast-paced fun little film that always puts a smile on my face.  

Cruel, Cruel Love (1914) is a perfect example of Chaplin playing a very different character than his typical Tramp character. In this short film, we get to see Charlie at his most over the top, hamming it up as much as Ford Sterling. This is one of the many shorts made for the Keystone studio during this period that was a parody of the types of films that D.W. Griffith made for the Biograph Studio. This film's storyline is especially similar to the Griffith short, Death’s Marathon (1913).

A Day's Pleasure (1919) is an often glanced over Chaplin film. Released around the time, Charlie was releasing some of his greatest masterpieces, this is rather a simple basic comedy. It was in fact a quickly made film made around the time Charlie was working on the first feature length movie he directed and starred in, The Kid (1921). The short even feature Jackie Coogan, who played the title character in The Kid.  The Kid was becoming a much more complicated and elaborate project than Charlie had planned. However, he still had a quota of short films he had to make for First National. So that he could devote more time to the feature, he made a quick and easy low-brow comedy. Coogan later remembered that during the making of A Day's Pleasure Charlie, "‘kind of sloughed that picture off. You’ll notice, if you see it, that it gets very jumpy. He lost interest in it." The result may not be up to par with other films, Chaplin was turning out at this time. However, for what it is this is a very fun little comedy with some funny gags. The following is a review from The New York Times (dated December 8, 1919), "Charlie Chaplin is screamingly funny in his latest picture, A Day’s Pleasure, at the Strand, when he tries in vain to solve the mysteries of a collapsible deck chair. He is also funny in many little bits of pantomime and burlesque, in which he is inimitable. But most of the time he depends for comedy upon seasickness, a Ford car, and biff-bang slap-stick, with which he is little, if any, funnier than many other screen comedians."

Thanks for joining me. Come back in the future for more Charlie Chaplin. 

Resources Used

The Chaplin Encyclopedia by Glenn Mitchell.  

Liner Notes for the Chaplin at Keystone DVD set by Jeffery Vance

https://chaplinfilmbyfilm.wordpress.com/2018/06/29/a-days-pleasure-15-december-1919/

https://chaplinfilmbyfilm.wordpress.com/2014/03/09/tango-tangles-9-march-1914/

https://www.jbkaufman.com/movie-of-the-month/cruel-cruel-love-1914