Classic Short Film: Hollywood Scout (1945)

Video Link: Lon Chaney Jr.: The Real Horror Story - Universally Me

Cowboy Church #222

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

Today's musical selection begins with Roy Rogers and Dale Evans with Whispering Hope. This beautiful hymn comes from the pen of Alice Hawthorne (the pen name for poet Septimus Winner), who is best known for her contributions to children's music with songs like, Where, Oh Where Has My Little Dog Gone? and Ten Little Indians.

This is followed by pianist Floyd Cramer with a lovely instrumental version of How Great Thou Art. This comes from his 1971 instrumental gospel album, Sounds of Sunday.

Afterwards is Dick Curless with I Love to Tell the Story. When recovering from a sickness, Arabella Katherine Hankey wrote a poem about the life of Christ. This poem was broken into two parts the first being called The Story Wanted (published in January 1866) and the second called The Story Told (published in November 1866). I Love to Tell the Story comes from this second part. In 1869 William G. Fisher put this text to music and that is the version we know today. Still, it is worth noting that Hankey wrote her own music for these words, but her music was seldom used and is now forgotten. 

For Father's Day, here is The Talleys with How Deep the Father's Love for Us. This comes from their 2012 album, Love Wins. 

Then comes Blind Willie McTell with his 1940 recording of Old Time Religion.  

Next comes The Sons of The Pioneers with their 1937 recording of One More River to Cross. Our good friend Leonard Slye (aka Roy Rogers) takes the lead vocal here, but like many of the best Sons of the Pioneers recordings, the highlight is the group's great harmonies. The incredible Hawaiian steel guitar player, Sam Koki joins the boys on this recording and does a fine job. 

Afterwards comes Johnny Cash performing Greystone Chapel from his legendary 1968 album, At Folsom Prison. This song was written by Glen Sherley, who was an inmate in Folsom at the time. The song was given to John by a minister at Folsom Prision. Glen Sherley also wrote another hit country song, Portrait of My Woman, which was made a hit by Eddy Arnold. After this song's success Sherley would even record a live album in Folsom, while still being in prison. When he got out of prison, Johnny Cash met him at the gates. Sherley would even become a part of John's live shows. However, when Sherley would threaten to kill some of those on the shows and similarly violent threats against people, John had to let the singer and songwriter go. Singing background on this song is The Statler Brothers and Carl Perkins can be heard as one of the guitar players. The Statler Brothers and Carl Perkins were both part of John's live shows as well. 

Today's musical selection ends with The Monroe Brothers with their 1936 recording of I Dreamed I Searched Heaven for You. 

Now for a sermon from Greg Laurie appropriate for Father's Day. 

Now for an episode of The Lone Ranger radio show entitled In His Father's Footsteps (1952). 

And he made from one man every nation of mankind to live on all the face of the earth, having determined allotted periods and the boundaries of their dwelling place. Acts 17:26

So, Peter opened his mouth and said: “Truly I understand that God shows no partiality, but in every nation anyone who fears him and does what is right is acceptable to him."

The stranger who resides with you shall be to you as the native among you, and you shall love him as yourself, for you were aliens in the land of Egypt; I am the Lord your God. Leviticus 19:34

Blessed be the God and Father of our Lord Jesus Christ! According to his great mercy, he has caused us to be born again to a living hope through the resurrection of Jesus Christ from the dead. 1 Peter 1:3

Now faith is the assurance of things hoped for, the conviction of things not seen. Hebrews 11:1

Let no one despise you for your youth, but set the believers an example in speech, in conduct, in love, in faith, in purity. 1 Timothy 4:12

But even if you should suffer for righteousness' sake, you will be blessed. Have no fear of them, nor be troubled. 1 Peter 3:14


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 #235

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

Today's cartoon selection begins with one of the best of the many celebrity caricature cartoons of the 1930's, Disney's Mother Goose Goes Hollywood (1938). Without any of the sentimentality or pathos seen in other Silly Symphonies of this time, this is a pure comedy cartoon and a top notch one at that. While this film is best enjoyed by those who recognize all the movie stars that are being caricatured here, like the best of these celebrity caricature cartoons, this is still a lot of fun for those who don't know them. This short itself was a culmination of various ideas that had been pitched around the Disney studio starting in 1932. This included ideas for an abandoned Silly Symphonies short from the mid-1930's called The Hollywoods, which would have taken place in a forest full of birds and animals that closely resembled popular Hollywood stars. This also included an idea of a proposed Silly Symphony entitled Mother Goose Land, which would find the Mother Goose characters feeling like they were too old fashioned for modern audiences and deciding to jazz up their image with modern music. These two shorts that were abandoned, were revived and combined to create Mother Goose Goes Hollywood. As work commenced on this new film, there were so many ideas that it was even considered releasing this as a two-reeler (most cartoon shorts ran one-reel in length). Ultimately though the picture would be released as a one-reeler. Like all Disney films of this period the short benefits from a top-notch cast of animators. Izz Klein animated the opening with Mother Goose in the scroll and the scenes involving Laurel and Hardy. Bob Stokes animates the scenes with Kathrine Hepburn, Eddie Cantor and the blackbirds singing. Ward Kimball (one of Walt's famed Nine Old Men) animates the scenes involving Hugh Herbert, Ned Sparks, The Marx Brothers, Joe Penner (including the cameo by Donald Duck) and much of the big dance number. Grim Natwick (who was greatly responsible for the design of Betty Boop) animated scenes involving Charles Laughton, Spencer Tracey, Freddie Bartholomew, W.C. Feilds and Charlie McCarthy. Jack Campbell (a very underrated Disney animator who is best known for his work on the Blue Fairy in Pinocchio (1940)) animates scenes involving Greta Garbo, Edward G. Robinson and Wallace Beery. Don Patterson animated the orchestra on the shoe as well as caricatures of George Arliss and Clark Gable. It is worth noting that Laurel and Hardy are Simple Simon and the Pie Man here as the real Laurel and Hardy almost played the same Mother Goose characters in their feature film Babes in Toyland (1934). This short cartoon made its TV debut on an episode of The Mickey Mouse Club that aired on February 11, 1958. 

Now we join Honey Halfwitch in Clean Sweep (1967). 

Next comes a delightful black and white Porky Pig cartoon, Get Rich Quick Porky (1937). This was an early cartoon for director Bob Clampett (1937 was his first year as a director) and while it may not be as wild as some of the director's later work, there is plenty to enjoy here. This cartoon also marked the last appearance of Porky's sidekick, Gabby Goat. There is not much to Gabby besides him being grumpy and easily irritated, but the contrast between him and the more optimistic Porky makes for delightful watching. Two of the animators on this movie would later become great Looney Tune directors in their own right. Chuck Jones animates the wonderful scene with the dog, the gopher and a bone as well as the film's ending. Norm McCabe animates Gabby underground with his jackhammer as well as Porky handing the deed to Honest John. 

Up next is the Terry Toons short, The Wolf's Pardon (1947). This movie, like today's first cartoon takes Mother Goose characters into the then current pop culture. 

Now it is time for a commercial break. 

In the 1930's the Fleischer Studio's Popeye cartoon had reached an incredible level of popularity even rivaling that of Mickey Mouse. These simple black and white seven-minute cartoons captured the hearts of moviegoers just as much as any feature film. Because of this both Paramount encouraged the cartoon studio to create something bigger with Popeye. The result was a series of three two-reel full color cartoons starring the cartoon sailor. These films were over twice the length of an average Popeye cartoon, and they felt bigger in every way possible. My personal favorite of the three is the second, Popeye the Sailor Meets Ali Baba and His Forty Thieves (1937). This one has the same larger than usual and visual gorgeous look as the others, but in my opinion the humor in this short is probably the funniest. The cartoon was later edited down to a seven-minute short with some new animation featuring Popeye and his nephews for a cheater cartoon, Popeye Makes a Movie (1950). The following are some exhibitor reviews from the Motion Picture Herald, "Popeye the Sailor Meets Ali Baba and His Forty Thieves (Color Special): Popeye the Sailor - A two-reel cartoon that means nothing more at the box office than a single. Does not compare with 'Sinbad the Sailor' in entertainment. Running time, 17 minutes. A. Goldson, Gold Coast Theatre, Chicago, Ill. Neighborhood Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Popeye the Sailor - Not nearly as funny as it ought to have been. Still most everyone enjoyed it. Popeye needs a change of diet anyway. One tires of too much spinach. - L. A. Irwin, Palace Theatre, Penacook, N.H. General Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Popeye the Sailor - Ran it to bolster 'Rosalie' and really believe it drove in a few. Play it. They'll enjoy it. Running time, 20 minutes. - A.E. Eliassen, Rialto Theatre, Paynesville, Minn., Small Town and Rural Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Popeye the Sailor - Played this with 'College Holiday.' We put this in as a double attraction and which met with a great success. Played the Easter Sunday with very good business. Had a large matinee. Popeye sure pleases the children. -Edelstein Amusement Company, Homer Theatre, Hibbing, Minn. General Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Color Special - This is an extra price cartoon of two reels, which was just one reel too long. They can't sustain an audience's attention for the extra length, and it got boresome before it was halfway through. Don't buy it. Kids will like it of course but you don't pay off with them. - A.E. Hancock, Columbia Theatre, Columbia City, Ind. General Patronage."

Now for one of Walt Disney's silent Alice Comedies, Alice's Circus Days (1927). Like all of the Alice Comedies, this film features a live action Alice entering an animated world. Playing Alice is Lois Hardwick, the fourth and last child actress to play the character. However, at this time the series was winding down and the filmmakers were focusing more on the animated characters then Alice herself. Animators on this movie include Ub Iwerks, Rollin "Ham" Hamilton, Hugh Harmon, Paul Smith and Rudolph Ising (who was also the live action cameraman). 

Next is a Fleischer Screen Song short, I've Got Rings on My Fingers (1929). So, get ready to sing along and follow the bouncing ball. 

Now for one in a series of 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

Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman.

Walt in Wonderland: The Silent Films of Walt Disney by J. B. Kaufman and Russell Merritt.

https://cartoonresearch.com/index.php/animator-breakdown-get-rich-quick-porky-1937/


https://mediahistoryproject.org/

Movie Review: Materialists

 

Michael's Movie Grade: A-

An extremely charming romance. 

Celine Song once again proves herself as the one of the best directors/writers of romance films. While this may not reach the same heights as Past Lives, it is still a wonderful movie in its own right. This story of a matchmaker who becomes dis-illusioned with her job and with love in general, works perfectly as a charming romance, while also having a great deal more depth than the average romantic film. Most romantic movies are lighthearted fluff and basic wish fulfillment. Even the ones that claim to have a more cynical edge really don't. This movie on the other hand captures the more cynical age we live in today, while always keeping a glimmer of hope. As the title suggests, this film takes a look at the outward artifice that consumes are world today but also admitting how hard it can be to break away from that artifice. It offers hope to those who are lonely and feel that love can't happen for them, while simultaneously offering no easy answers. While in many ways this may still be the type of romantic wish fulfillment seen in your typical romcom, it rings truer and feels more honest than what in you see in typical romcom fluff. 

This movie also benefits from an incredible cast. One can tell that Celine Song is moving up in the film world by having a cast that includes such A-list stars as Dakoata Johnson, Pedro Pascal and Chris Evans. However, none of them feel like they were cast for star power alone. Each is perfect for their respective roles, and it doesn't take long into the film until we stop seeing the actors and just see the characters. The chemistry between the three leads is wonderful as well. As soon as you see Dakoata Johnson and Chris Evans' characters share the screen, you want to see them end up together. At the same time, you can feel the attraction and excitement between Dakoata Johnson and Pedro Pascal's characters. The story may follow some typical romcom conventions and you will probably see the ending coming. Despite this through strong storytelling, good dialogue, great acting, lovable (though flawed) characters and a smart and intelligent look at the world around us, the film is completely captivating from start to finish. 

Another must see from one of the best up and coming filmmakers.          

Logan (2017)

 

Logan was intended as the finale for Hugh Jackman playing Wolverine (though he would later return in Deadpool and Wolverine (2024)) and it would also be the last of be the last of the Wolverine solo trilogy (which also included X-Men Origins: Wolverine (2009) and The Wolverine (2013)).

This film takes place in the year 2029. It is believed that no new mutants have been born in 25 years and Wolverine's healing ability is slowing down causing me to start aging. He has become an emotional self-loathing wreck and is no longer acting like the superhero he once was. He is also taking care of Charles Xavier, who is dying. However, he discovers that there is in fact a new mutant, a child who was created using Wolverine's DNA, he must once again become a hero to protect her. 

From the start, the X-Men movies have had a darker and more serious tone than the majority of superhero films. This film takes this to a whole new level and stands as one of the most mature and smartest superhero films ever made. This movie feels gritter and more realistic than most superhero movies, while still feeling like a superhero film. Though there are action scenes here, this movie mostly plays as a serious drama and much of the story takes a slower pace. This works perfectly as it sucks you into the dystopian world of the film and into the minds of these characters. However, what makes this stand out from the previous entries in this trilogy is that it perfectly understands the character of Wolverine and delves into all the complexities of this character. You understand everything that makes this character far from your typical superhero but one who will reluctantly do that right thing when it counts. With a smaller cast of main characters then your typical X-Men film, this movie can delve into these characters in a greater way and that is just what it does. Laura (the kid with Wolverine's DNA) is a surprisingly deep and complex character, while barely saying a word for the majority of the runtime. She is a highly sympathetic and believable character, while also being one who often gives in to the animal-like instincts that Wolverine has learned how to control better. Charles Xavier has also rarely been better and more complex than he is here. With all this the movie is able to truly play on your heart strings making this a deeply moving and powerful film. These emotions can make this hard to watch at times but incredibly rewarding at the same time. These darker moments are balanced out by some very strong humor (even if it is less humor than there is in previous X-Men movies) and exciting action scenes (albeit very gory ones).

James Mangold returned to direct this film after directing The Wolverine. About making this film Mangold said, "Hugh and I have been talking about what we would do since we were working on the last one, and for both of us it was this requirement that, to be even interested in doing it, we had to free ourselves from some assumptions that had existed in the past, and be able to change the tone a bit. Not merely to change for change’s sake, but also to make something that’s speaking to the culture now, that’s not just the same style — how many times can they save the world in one way or another? How can we construct a story that’s built more on character and character issues, in a way as if it almost wasn’t a superhero movie, yet it features their powers and struggles and themes?”  He expanded on the difference between this and other superhero movies by stating, “We are in the future, we have passed the point of the epilogue of Days Of Future Past. We’re finding all these characters in circumstances that are a little more real. The questions of ageing, of loneliness, of where I belong. Am I still useful to the world? I saw it as an opportunity. We’ve seen these characters in action, saving the universe. But what happens when you’re in retirement and that career is over?” About allowing Wolverine to age he stated, “One of the things we all thought about as we worked on this film is, well, we don’t want to rebuild everything. We want to have some questions. In order to make a different Logan, and a different tone of a Wolverine movie, we felt like we couldn’t hold on to every tradition established in all the movies religiously, or we’d be trapped by the decisions made before us. So, we questioned whether Logan’s healing factor causes him to heal without even a scar. We imagined that it may have when he was younger, but with age, he’s getting older and ailing. Perhaps his healing factor no longer produces baby-soft skin. So we imagined he heals quickly, still, but it leaves a scar. The simple idea was that his body would start to get a little more ravaged with a kind of tattooing of past battles, lacerations that remain of previous conflicts.” Mangold co-wrote this movie with Scott Frank (Get Shorty (1995), Out of Sight (1998), Minority Report (2002), Marley & Me (2008) and Michael Green (Smallville, Green Lantern (2011), Green Lantern: Emerald Knights (2011), Alien: Covenant (2017), Jungle Cruise (2021)). This was Michael Green's only X-Men film, while Scott Frank had worked on The Wolverine. 

The trailer for this movie featured Johnny Cash's cover of the Nine Inch Nails song, Hurt. Mangold is obviously a Johnny Cash fan having directed the Johnny Cash biopic, Walk the Line (2005). However, this is not the only reason the song was used. Mangold would state, “Obviously I have a connection and a fondness for Johnny Cash, and his tone and his message and his music. But the real driver in all these decisions is trying to separate ourselves, in an accurate way, from the other superhero movies. We think we’re going to deliver something a little different and we want to make sure we’re selling audiences on the difference. Sometimes even when a movie’s a little different, the studio’s trying to market the movie just like all the others. [Cash’s] music, in a way, separates us from the standard, bombastic, brooding orchestral, swish-bang, doors opening and slamming, explosions kind of methodology of some of these movies.” Over the end credits of the actual film, Johnny Cash's original song, The Man Comes Around, plays. Both songs come from John's highly emotional 2002 album, The Man Comes Around, which was made at a time when John himself was much older and weaker than the young rebel, fans had fallen in love with in the 1950's and 60's. This perfectly fits the themes and the emotional urgency of this movie. 

This movie grossed $619.2 million worldwide with a budget of $97 million. This makes it in the top 19 highest grossing R-rated movies of all time. The critical response was incredibly positive, and it has a 93% critic rating on Rotton Tomatoes. 

Resources Used

https://collider.com/logan-timeline-explained-james-mangold/#images

https://www.boxofficemojo.com/title/tt3315342/

https://www.simbasible.com/logan-movie-review/

Movie Review: How to Train Your Dragon

 

Michael's Movie Grade: C+

This remake is well made but not well made enough to justify its own existence. 

In my opinion the point of a remake should be to bring a new take to a familiar story. That is why I can never understand movies like this. This is not a new movie or a new take in the slightest. This is the same exact movie except in live action instead of being animated. There are no changes to the story and the dialogue is copied almost verbatim. When a remake is this faithful, its existence is simply nothing but cash grab. For a cinematic experience, Dreamworks could have simply re-released the animated version and the experience would have been greater. Yet not as many people would have come to the theater to see that. The result instead is an imitation of the same thing. It is a well-made imitation but still just an imitation. 

Unlike in many of the Disney remakes, the live action filmmaking is very well done (the director is Dean DeBlois, who co-directed the animated film). The cinematography looks great. While the live action sets can't fully recapture the magic of the look of the animated film, they come as close as live action sets can. While not outstanding, the acting is quite good. The emotional beats of the story still hit quite well. 

Nothing about this movie is bad and quite a bit is good. However, that can't overcome the pure lack of any creativity in this copy and paste effort.  

Gay Purr-ee (1962)

 

Gay Purr-ee is a truly delightful, animated feature film from the 1960's. It is sad that such a lovely movie should have not only been completely underappreciated in its day and nearly forgotten today. It is high time this movie is appreciated for the pure charmer it is. 

In this animated film, Mewsette is a cat living on a French farm in the country. Tired of her country life, she dreams of a glamorous life in Paris. She hitches a ride on a carriage heading to Paris. However, when she reaches the big city, her naiveté is taken advantage of by a seemingly sophisticated cat named Meowrice, whose motives are anything but virtuous.

Charming is the best word to describe this movie. Many critics of the day (and some today) criticize the film for being too simplistic for adults and too sophisticated for children. Yet it is exactly the mixture of these elements that endears this movie so much to me. I find the simplicity and straight forwardness of the story very charming. In this way it feels like an old-fashioned story book in the best way possible. The sophistication of the artwork and the humor to me brings a sense of authenticity to this simple Paris based story. There is a delightful stylization to much of the artwork that makes the whole film simply a joy to look at. Many of the backgrounds look like French paintings and fully immerse you in this world. The humor is often cleverer and more sophisticated than it is actually funny. One of the best moments of this sophisticated humor is when we see Mewsette drawn in the style of various French painters. While not exactly funny, this is incredibly lovely. Yet this sophisticated humor fits the film to a tea. To me the sophistication brings this movie a real sense of atmosphere, while the simplicity brings a real sense of charm. Both elements work together to create a delightfully unique and lovely film.   

If there is one complaint to have about this movie, it is that it is obvious that the filmmakers did not have the same budget that was given to those making animated features for Disney. There are times when the animation is as limited as what was being made for TV at the time. However, the wonderful artwork often makes up for this fault. 

One of this film's greatest assets is having Judy Garland as the voice of Mewsette. Her career was going through a major revival around this time. In 1961 she had released what is considered to be one of the greatest live albums of all time, Judy at Carnegie Hall. This album was not only an artistic triumph but also a massive hit spending 13 weeks at number 1 on the Billboard charts. She had received critical acclaim for her dramatic role in Stanley Kramer's Judgment at Nuremberg (1961). She also had a CBS Television special on the horizon. She spent three weeks in November 1961 recording her voice for this her first and only animated movie. She was paid $50,000 plus 10% of the gross. She took to voice acting like a duck to water. She brings a real charm and likability to this role, while also seeming so authentic that you forgot that a well-known actress is voicing the character. Her singing voice is also in great form here and she sounds incredible in each of her song numbers. 

This movie reunites Judy with song writers Harold Arlen and Yip Harburg. This was the songwriting team that penned the songs for the film Judy is best remembered for The Wizard of Oz (1939). In this film the team is at their best and every song is a pure delight. Some of these songs show the team at their absolute best. Little Drops of Rain and Paris is a Lonely Town are true musical classics perfectly enhanced by the vocal talents of Judy Garland. 

As well as Judy Garland this film also features a great cast of actors some (like Judy) best known for their live action work and other experienced cartoon voice actors. This includes such talent as Robert Goulet, Red Buttons, Paul Frees, Hermione Gingold, Morey Amsterdam, Mel Blanc, Joan Gardner and Julie Bennett. 

This marked the second and final feature length movie to be released by the UPA studio (the first being the Mr. Magoo feature 1001 Arabian Nights (1959)) and the only one not to feature any of UPAs characters from their theatrical cartoon shorts. The film was based off of a story written by animation legend Chuck Jones and his wife Dorothy. Chuck was working at Warner Brothers at the time and the heads of the Warners cartoon studio were unhappy with Chuck having moonlighted. This caused a rift that ended with Chuck leaving the studio. He would go on to work at MGM, where he would produce 34 Tom and Jerry shorts and would direct the holiday TV classic How the Grinch Stole Christmas (1966). The movie was directed by Abe Levitow. Levitow had worked as an animator on some of Chuck's Warner Brothers cartoons. His association with Chuck would continue after this. He would direct some of the Chuck Jones produced Tom and Jerry shorts and him and Chuck would later co-direct the live action-animation feature film, The Phantom Tollbooth (1970). For UPA Levitow would direct a Christmas TV classic, Mr. Magoo's Christmas Carol (1962). Regular Jones animators Ben Washam and Ken Harris also worked on this film. 

Unfortunately, this movie was a box-office failure, but I hope that soon it will be reassessed by cartoon lovers, Judy Garland fans and movie buffs. It certainly deserves more attention and love than it gets. 

Resources Used

The Animated Movie Guide Edited by Jerry Beck

https://www.tcm.com/tcmdb/title/76058/gay-purr-ee#articles-reviews?articleId=613079

Video Link: Celebrating Judy Garland On Her Birthday (Compilation) | TCM

Classic Short Film: Bubbles (1930)

Happy birthday Judy.

All-New Super Friends Hour: Day of the Rats

 

This is the fourth segment of the twelfth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends (or two in the case of Batman and Robin) teaming up with a special DC Comics guest. 

In this cartoon, Batman, Robin and Black Vulcan team up team up to stop a rat infestation in Gotham City. 

This is a fun little episode. We see Gotham City too little in this series and seeing it here truly helps give this episode a unique feel. The dark lighting and the urban setting give this episode an almost film-noir type of look that fits this storyline perfectly. The background art and lighting are perfect here, truly bringing the setting to life. The design of the rats here is also perfect, as they have a delightfully creepy look that helps give this almost a light horror vibe that works quite well. This cartoon also has some great action and suspense scenes. The scene with the elevator is especially exciting and well handled. 

If anything works against this cartoon, it is that the short runtime work against it. The segment seems to end as soon as it begins, and this makes the conclusion feel rushed and too easy. 

All in all, this is a very well-made cartoon.  

Movie Review: Dan Da Dan: Evil Eye

 

Michael's Movie Grade: B+

A very entertaining compilation movie.

Becoming more and more common today is the anime compilation movie. These seem to come in-between seasons of various anime TV series. They often are comprised of the first few episodes of the next season of the show. These allow fans of the show to experience these episodes ahead of time and on a big movie theater screen. The results are often very entertaining films but ones that don't quite feel like actually movies. Dan Da Dan Evil Eye consists of the first few episodes of the popular show's second season. 

This film does a better job of actually feeling like a movie than many other anime compilation films (especially the Demon Slayer ones). First it gets rid of end credits (though there are credits at the end of the whole movie) and the opening theme song. Secondly this movie does not seem to randomly start in the middle of a storyline. This in fact is the start of a new story arc for the series. Thirdly the ending actually feels like a bit of a conclusion. True there is a bit of a cliff hanger, and it is obvious that there is going to be more to the story. However, we live in the age of the MCU and two- and three-part movies, so this does not keep it from not feeling like a theatrical film. Still, it feels like the end of this part of the storyline, giving the movie a feel of a beginning, middle and end. Fourthly this movie is completely accessible to those who have never watched the TV show. You can quite quickly pick up on who these characters are and their relationships to each other. There are some flaws in this part of the filmmaking though. It is obvious when the commercial breaks are supposed to be, which can feel a bit awkward when watching it on a movie screen with no commercials. Also, the recap at the beginning is unnecessary (as one can still follow the story and characters without it) and feels like padding. 

The episodes themselves are excellent. The action scenes are fantastic and look great on the big screen. The villains are very creepy and memorable. There is a dark and foreboding atmosphere all over this film. This includes some scenes that are legitimately scary and make you feel at complete unease. There are also some very emotional moments here. One flashback scene hits you like an emotional punch to the gut. The characters are all very likable and you immediately connect with them, even if you haven't seen the show before. I do feel the humor is a bit hit and miss but this is hardly a major flaw. 

This is one of the better anime compilation films of recent years. 

The Great Movie Shorts (1972)

 

Leonard Maltin's The Great Movie Shorts is a seminal book on classic short subjects. While this book is still incredibly enjoyable and informative today, to truly appreciate it, you must put into the context of the time it was written. At this time most writings about movie focused on "important" films, nearly all of which were feature length. A whole book long study of the live action short subject of the 1930's and 40's was something virtually unheard of. Today there have been many books written about classic short subjects (Leonard Maltin would even co-write another on (with Richard W. Bann), The Little Rascals: The Life and Times of Our Gang). As such this could have been a very basic history and still been an important book. That this is such a well-researched and incredibly informative (even today) book at this time makes it all the more impressive. 

This book is broken up into multiple different sections. The first of these is brief history of each major (and some not so major) Hollywood studio and their output in the short subject field. The second is a survey of many of the classic short subject series. This section makes up the bulk of the book and as well as the surveys each series gets a filmography giving you a list of each film, acting and directing credits and a plot summary. This section includes the most popular and famous series such as Laurel and Hardy, The Three Stooges, Our Gang (AKA The Little Rascals), Joe McDoakes, Pete Smith (whose shorts play on TCM regularly) and Charley Chase. Also included are the sound shorts of the beloved silent comedians Buster Keaton and Harry Langdon (the talkie work of legendary silent comedy producer Mack Sennett is even chronicled in this book). Here you get a great picture of an overlooked part of the work of some true Hollywood legends. There are also many series here that even the most avid cinephiles will not have seen or maybe even heard of. Not all the series listed here are comedies as we also get a look at such series as Crime Does Not Pay, John Nesbit's Passing Parade and Screen Snapshots. After this comes surveys of various genres that were not talked about in depth elsewhere in this book (newsreels, travelogues, musicals and sports). 

With all this the book marks a perfect introduction to those who wish to get further into classic short subjects, letting you know all aspects of the classic live action short subject, so that whatever your interests may be, you will know when to start. Maltin's writing also often fully reflects his passion for the subject and will make you want to seek out many of the films he has written about. Yet this book is equally essential to seasoned movie buffs. It's in-depth filmographies, look at obscure films (as well as the better-known ones), surprisingly in-depth histories and especially its quotes from many of those who worked on these films (many of whom Maltin talked to firsthand) make this just as essential reading for true cinephiles. Beyond this the book is simply a lot of fun to read. 

This book would be reissued and updated in 2015, when it would be retitled Selected Short Subjects" From Spanky to the Three Stooges. 

This book should have a treasured place in every movie buff's library. It certainly has a very cherished place in mine. 

Cowboy Church #221

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

Today's musical selection begins with Roy Rogers and Dale Evans with Open Up Your Heart (And Let the Sunshine In). This song was written by Stuart Hamblin. This was appropriate as Stuart Hamblen had been a singing cowboy on radio since back in 1926. Probably his most famous compositions were It is No Secret (What God Can Do) and This Old House. This recording of the song comes from a Little Golden Record Roy and Dale recorded in 1954. The B-side of this Little Golden Record was The Lord is Counting on You, which was also written by Hamblin. Cartoon fans might recognize this song from the Flintstones episode, No Biz Like Show Biz (1965) which features Pebbles and Bam Bam singing the song. 

This is followed by The Cockman Family with Nothing but the Blood of Jesus. This comes from the bluegrass gospel band's 2006 album The Promise.

Afterwards is Alison Krauss and Union Station with On Heaven's Bright Shore. This recording is from their 1989 gospel album, Two Highways.

Next comes Johnny Cash and Waylon Jennings with The Greatest Cowboy of Them All. This is a song about heroes and all of us have our heroes. While these heroes may be entertainers, writers, political figures, intellectuals and humanitarians, when you put any of them up against Jesus Christ, they simply pale in comparison. This because even someone who is great by human standards is nothing when compared to the glory of God.  

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."

Then comes Blind Willie McTell with his 1928 recording of Ain't It Grand to be Christian.

Afterwards is The Carter Family with their 1930 recording of When the World's on Fire.  

Today's musical selection ends with Melba Montgomery with A Better Life is Waiting. This comes from her 1966 gospel album, Hallelujah Road.

Now for an episode of the Hopalong Cassidy radio show. 

Now for a message from Billy Graham.

For I know the thoughts that I think toward you, saith the LORD, thoughts of peace, and not of evil, to give you an expected end. Jeremiah 29:11

But as for me, I watch in hope for the LORD, I wait for God my Savior; my God will hear me. Micah 7:7 

May the God of hope fill you with all joy and peace in believing, so that by the power of the Holy Spirit you may abound in hope. Romans 15:13 

For in this hope we were saved. Now hope that is seen is not hope. For who hopes for what he sees? But if we hope for what we do not see, we wait for it with patience. Romans 8:24-25

But love your enemies, and do good, and lend, expecting nothing in return, and your reward will be great, and you will be sons of the Most High, for he is kind to the ungrateful and the evil. Luke 6:35

Do not repay evil for evil or reviling for reviling, but on the contrary, bless, for to this you were called, that you may obtain a blessing. 1 Peter 3:9 

Bless those who curse you, pray for those who abuse you. Luke 6:28

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 #234

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

Today's cartoon selection begins with an early Looney Tunes cartoon, Ride Him, Bosko! (1932). This short stars Bosko, the very first Looney Tunes star. The ending of this film is a pure delight. 

Now we join Honey Halfwitch in Poor Little Witch Girl (1965). This short film marked her cartoon debut. This movie is directed by Howard Post. Post is better known for his comic work rather than his animation work. He created the comic strip The Dropouts and DC Comics character Anthro. He had also worked for Harvey Comics on various Casper comic books and on the Heathcliff and Care Bears comics for Marvel as well as being an editor on Looney Tunes Magazine and Tiny Toons Magazine for DC. 

Next is the Fleischer Screen Song cartoon, Let Me Call You Sweetheart (1932). This short film features a brief appearance by Betty Boop, whose own starring series would begin later the same year. 

As I have stated before while Popeye cartoons are often assumed to be simply the same storyline over and over, this was not the case, as there were many that did not revolve around Popeye and Bluto fighting over Olive. One of the great cartoons that don't follow this formula is Goonland (1938). This film introduces new characters to the animated cartoons. However, these characters were not brand new. They had existed previously in E.C. Segar's comic strip, Thimble Theatre for which Popeye was also originally created. The characters of the goons would first appear in the comic strip in 1933, before appearing in this cartoon. This was the only of the theatrical cartoon shorts to feature the goons, however they would later appear in animated Popeye TV cartoons. Poopdeck Pappy first appeared in the comic strip in 1936. While Goonland was his first appearance in a theatrical cartoon short, it was hardly his last, as he would become a reoccurring character in the cartoons. This film would later be remade as Popeye's Pappy (1952), though that cartoon would replace the goons with stereotypical African natives.

Now it is time for a commercial break. 

Today's cartoon selection continues with the Pink Panther short, In the Pink (1967). This film has everything I love about Pink Panther cartoons with a generous amount of creative slapstick and some great pantomime. With these cartoons, the filmmakers really helped keep the spirit of silent comedy alive long after the silent era had passed. This movie opens with some reused animation from Pink Panic (1967) where the Pink Panther gets out of the shower. Pink Panic was only released a few months earlier. This scene was animated by Norm McCabe. As McCabe also animated the final gag, we both start and end with his animation. Art Leonardi animates very little of this cartoon. He animates the very beginning of the shadow boxing scene (up until the shadow first punches our pink buddy out) and then Manny Gould animates the rest of the scene. 

Next comes one of Walt Disney's silent Alice Comedies, Alice's Fishy Story (1924). Like many of the earliest Alice comedies, this movie features live action wraparounds before and after the cartoon portion. During these live action wraparounds, you can see Walt Disney as the person driving the car. Virgina Davis, the first actress to play Alice, plays Alice here and Leon Holmes plays her heavier set fishing buddy. Holmes was probably chosen for the role due to his physical similarity to Joe Cobb who was appearing in the Our Gang (or Little Rascals) shorts of the time. This cartoon would mark the second appearance of the animated Julis the cat. He had appeared in Alice's Spooky Adventure (1924) before this, and distributor Merget Winkler must have liked him (probably because of the popularity of Felix the cat). In the Alice Comedy following Alice's Spooky Adventure, Alice's Wild West Show (1924) a dog would be used as Alice's sidekick and Winkler would write Walt saying, "I might suggest that in your cartoon stuff you use a cat whenever possible and don't be afraid to let him do ridiculous things." This second film with the cat directly follows Alice's Wild West Show.  



 

Now we join Mr. Magoo in Magoo's Lodge Brother (1959). 

Now let us close with a song. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry. 

Resources Used

Walt in Wonderland: The Silent Films of Walt Disney by J. B. Kaufman and Russell Merritt.

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

https://cartoonresearch.com/index.php/the-pink-panther-in-the-pink-1967/

Bugs Bunny Superstar (1975)

Bugs Bunny Superstar marked the first Looney Tunes feature length movie. The movie itself was part documentary and part a compilation film. The movie consisted of interviews with such notable Looney Tunes directors as Friz Freleng, Tex Avery and especially Bob Clampett, vintage footage of the studio when they were making the classic cartoon shorts, narration by no less than Orson Welles and nine full cartoon shorts. The movie itself came about because of a filmmaker named Larry Jackson. Jackson felt that those these cartoons were popular on TV in the 1970's, they should be put back in movie theaters (where they played originally). Jackson originally played on simply making a retrospective of these cartoons but as the film developed it turned into the part documentary we now have. 

The cartoon shorts used in this movie are What's Cookin' Doc? (1944), The Wild Hare (1940), A Corny Concerto (1943), I Taw a Putty Tat (1948), Rhapsody Rabbit (1946), Walky Talky Hawky (1946), My Favorite Duck (1942), Hair-Raising Hare (1946) and The Old Grey Hare (1944), These are a wonderful selection of cartoon shorts. While there are a few obvious choices here and quite few less obvious choices, each cartoon is a winner and some of them even hold their own against the best Looney Tunes and Merrie Melodies shorts. My Favorite Duck is one of my favorite Porky and Daffy pairings and one of the highlights of the movie. If this film only consisted of these cartoons, it would still be a joy to watch. 

The home movie footage of the animators at work and play are simply wonderful. They take up too brief of a time, but they are nicely employed, a lot of fun to watch and a treasure for classic cartoon fans. 

While every Looney Tunes fan will agree that the cartoons and the home movie footage are wonderful, the interviews are much more controversial. Friz Freleng and Tex Avery barely appear and don't get to say much, while Bob Clampett takes up nearly all the screen time where cartoons are not being shown. This is not accidental. On his blog historian Thad Komorowski states, "In order to secure Clampett’s participation and access to the Clampett estate’s unprecedented collection of Warner history, Jackson had to sign a contract that stipulated Clampett would host the documentary and also have approval over the final cut." Clampet himself was reluctant to speak about the other Looney Tunes directors. While he doesn't directly take credit for too much here (as he did in a 1969 interview with historian Michael Barrier), he does imply that he was the main force behind these cartoons. Tex Avery was not happy about what he felt was Bob Clampett taking credit for creating Bugs Bunny. Chuck Jones, who famously had a fued with Bob Clampett, feeling that the Clampett took too much credit was unhappy with the movie as a whole. It is perhaps no coincidence that when Jones directed The Bugs Bunny-Road Runner Movie (1979), Bugs would list a group of his "fathers" and Bob Clampett would not be included. Friz Freleng told Jackson not to worry about the feud saying that the two were always “squabbling like kids with sibling rivalry more or less since they were kids, and if the shoe had been on the other foot when you were making your film, Chuck would have probably done the same thing to Bob and give him the short end of the stick if he had the chance.” Frankly this film can feel at times too much like Bob Clampett: The Movie and one wishes that more time could have been spent discussing the other creators of these cartoons. The main problem with Bob Clampett's hosting though is that he doesn't really give much information about these cartoons. He gives a few of the better-known facts and never goes into much detail. This especially stands out today, when so many great books about classic cartoons have been written and much information is also readily available on the internet. This can make his hosting scenes seem very fluffy today (not helped by the obviously very low budget filmmaking). However, they are very pleasant fluff and have a real charm to them. 

Jackson wanted Robert McKimson, Mel Blanc and Chuck Jones to appear in the film. Robert McKimson turned this down as he didn't feel comfortable in front of a camera. Mel Blanc said that Clampett never reached out to him but that he would have declined as he was still frail from an auto accident fourteen years earlier. Clampett claimed to have talked to Jones secretary who said he was out of town that month. One wonders if any of them would have gotten much screentime or would have barely appeared in the final film the way Friz Freleng and Tex Avery did. 

The movie reached theaters on December 19, 1975, and received a mostly positive reception from critics and audiences. It would find itself on VHS in 1988. It would strangely enough air once on the Disney Channel in 1989. Even stranger is that the Disney Channel did not edit the blackface gag in I Taw a Putty Tat. 

Resources Used

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

https://www.whataboutthad.com/2012/11/28/bob-clampett-superstar/

https://www.combustiblecelluloid.com/classic/bugs_bunny_superstar.shtml

https://looneytunes.fandom.com/wiki/Bugs_Bunny:_Superstar

Movie Review: Dragon Heart: Adventures Beyond This World

 

Michael's Movie Grade: B-

An intriguing but flawed anime film. 

Two teenagers die when they accidentally slip and drown. They are told that they can resume their lives if they travel to the spirit world and discover what their true purpose on Earth is. When they visit the spirit world they find that much of it consists of people's own personal hells. 

This movie was made in conjunction with the religious organization Happy Science, which many people refer to as a dangerous cult. I am not knowledgeable enough about this organization to either confirm or deny this assessment but taken on its own merits this movie is actually pretty good. The main characters, while not complex, are easy to like and root for. While the story has its religious message, it takes a while until this message shows its full face, and the story is quite intriguing and absorbing until that time. For an animated movie not made by a major studio, the artwork is often great to look at. The designs and background art give the film a very atmospheric look. The atmosphere is the main reason to watch this movie as the filmmakers are able to do what all fantasy movies should do. This film makes the worlds we see seem completely real to us. Never is this more evident than when we get a glimpse into people's personal hells. These hells create a real sense of unease and often make us feel like we have been transported into a nightmare. Once more the hospital themed hell is legitimately scary and wouldn't feel out of place in a real horror film. 

This movie definitely has its flaws though. The pacing is often very poor with some scenes feeling rushed and others going on too long. The few song numbers here are also incredibly poor with some truly embarrassing lyrics. Worst of all is that after avoiding it for the majority of the film, the movie spends most of the last act truly preaching to us. This part almost comes off as one of those cartoons that religious groups and churches would show to the tiniest of kids to teach them the very basics of their faith. Perhaps if this was one of those films this could be overlooked but this movie is too dark and disturbing (as well as featuring swearing and blood) to be appropriate for kids and this last act is too much like a film for preschool age kids for this to work. It is during this last act that the movie feels most at odds with itself.   

Even if this film has its flaws and the last act is a mess, there is still enough for animation lovers to make it worth seeing.    

Classic Short Film: Hollywood on Parade (1932)

Movie Review: The Phoenician Scheme

 

Michael's Movie Grade: B

A typically fun Wes Anderson movie. 

There are few filmmakers who have a style that is as instantly recognizable as Wes Anderson. A true auteur, you can tell one of his films from the very first scene. However while his style is so distinctive it is as so omnipresent that sometimes his movies can almost blend together. Such is the case with his newest film, which is thoroughly entertaining but doesn't stand out from the from the director's other movies. This movie has all the trademarks of Anderson's work. His distinct visual style is fully on display. His use of colors and how wonderfully stylized all the sets are make this very visually pleasing film. It also makes this a joy to see on the big screen. This movie once again features a top-notch cast, who is obviously having a ball. They are enjoying themselves so much, that we enjoy ourselves just as much. Like many Wes Anderson movies (and absurdist comedy in general), the humor can be a bit hit and miss but when it is funny, it is downright hilarious. The pure silliness and absurdity of this humor (even when it doesn't hit) simply makes this film a lot of fun. 

This may often be too derivative of other Wes Anderson films, but it is still very entertaining in its own right. 

Charlie Chaplin Carnival #5

 Hello my friends and welcome back for another selection of short films from my favorite filmmaker, Charlie Chaplin. 

Today's selection begins with a true classic of silent comedy, Shoulder Arms (1918). This was the most popular Chaplin film up to this time and for years, reviewers would use it as a yardstick to measure all the Chaplin films to follow. This film began production being planned as a five-reel feature (an issue of Pictures and the Picturegoer stated that it would be only three weeks before it was released in the U.S.). This feature would have shown Charlie before, during and after the war. However, Charlie eventually decided to trim this down to only the middle section, making the film a three-reel short. Even scenes during this middle section were trimmed though. Stills from a scene with Charlie having his army medical were used as publicity over the years, though this scene does not appear in the final film. 

Exhibitor's Herald, 1918

The Film Daily, 1918

Up next is a very early Chaplin film, A Flim Johnnie (1914). For movie buffs this film is a wonderful document. The short gives us a great look at the movie going experience, well over a century ago. This is especially seen in the early scenes in a movie theater, which looks quite different from a movie theater today to say the least. This short also does a great job at parodying the rising fan culture and the fame the emerging movie stars were just starting to have. This short was directed by George Nichols. Known as Pop, Nichols was a veteran of the early days of the movies. After the clashing between Charlie and director Henry Lehrman, Nichols would briefly become Chaplin's director. Charlie felt that Nichols' comedy ideas were already outdated. Charlie would state that Nichols' comedy ideas consisted of "one gag, which was to take the comedian by the neck and bounce him from one scene to another." Also seen in this film were Virginia Kirtley (as the "Keystone Girl"), Roscoe "Fatty" Arbuckle, Ford Sterling, Edgar Kennedy and Minta Durfee. Virginia Kirtley was the leading lady in Chaplin's first film (Making a Living (1914)). In 1916 she would marry comedian Eddie Lyons and would co-author some of the films that teamed him with Lee Moran at Nester comedies before soon retiring (in 1917) after giving birth to a daughter. In 1928 (two years after Lyon's died early from appendicitis), she tried to make a comeback to the screen but this attempt was unsuccessful. She would live until 1956, when she would pass away at the age of 67 in Sherman Oaks, California. Minta Durfee was Roscoe "Fatty" Arbuckle's first wife. Though their marriage did not last, the two remained on good terms and she helped Roscoe when he was falsely on trial for raping and murdering a young woman (a scandal that would ruin his movie career). 

Next is another early Chaplin short, His New Profession (1914). In later films Charlie Chaplin's character would be one who would very much receive the sympathy of his audience. This film however does not care if you like the little Tramp. In fact, the Tramp is actively unlikable here. Without an ounce of sentimentality or pathos here, this short is typical of the knockabout nothing is sacred type of comedy that the Keystone studio churned out on a regular basis. Though this is not one of the great comedian's best films, it provides a great look into the work of an artist before his art had become fully formed.  

Today's selection ends with Behind the Screen (1916). A pure slapstick classic, this film shows Charlie at his best. The comedy also features a top-notch supporting cast of Chaplin regulars. The film's villain is played by Eric Campbell, a large and heavy man, Campbell dwarfed the already fairly small Charlie Chaplin. This made him an imposing villain, who automatically made our sympathies with Chaplin. He played the villain in multiple Chaplin films and was probably Charlie's best on screen villain. In 1917, Chaplin had loaned Campbell to appear in a dramatic role in a Mary Pickford movie, Amarilly of Clothes-Line Alley (1918). Three days into the shooting of that film Campbel was driving home from a party after having too much to drink. He was driving 60 mph on the wrong side of the road and ended in a collision that ultimately killed him. He was only 38 years old. He appeared in 11 classic Chaplin comedies. Charlie's romantic interest was played by Edna Purviance, who played his love interest in most Chaplin films made during this period. Chaplin later directed her in a dramatic role in the feature film A Woman of Paris (1923). She would remain on Chaplin's payroll long after she stopped appearing in his films. Also featured in this film are Frank J. Coleman, Henry Bergman, Charlotte Mineau, Albert Austin and John Rand. All of these actors were Chaplin regulars. Coleman would even play multiple roles in some Chaplin films such as The Vagabond (1916) and The Count (1916). As well as appearing many Chaplin films Bergman also is credited as assistant director in what many consider the filmmaker's masterpiece City Lights (1931). After working in some of Charlie's many comedy shorts, John Rand would disappear from Chaplin's filmography for a while. However, he would later reappear in some of Chaplin's best feature films such as The Circus (1928), City Lights and Modern Times (1936). Albert Austin had worked with Chaplin before Charlie ever made a film as they were both worked for English Music Hall impresario Fred Karno (Stan Laurel was Chaplin's understudy during these years). Like Bergman, Austin would also receive an assistant director credit on City Lights. Austin also has a major role Mary Pickford movie, Suds (1920). 

Thanks for joining me. Stay around for more Chaplin and classic films in general. 

Resources Used


The Chaplin Encyclopedia by Glenn Mitchell.  

https://lantern.mediahist.org/

    

 

Movie Review: Ballerina

 

Michael's Movie Grade: A-

Exactly what you want from a John Wick spinoff. 

The John Wick series is one of my favorite action franchises. As such, I was both excited and nervous about the franchise's first spinoff movie. I needn't have been nervous as this is a completely welcome addition. This film is full of everything I love about the John Wick movies. The John Wick series has brought to the cinema some of the greatest action sequences I have ever seen. The action scenes here are fully on par with what we have come to expect from the franchise. These action scenes are as visually stylish, grand in scale, perfectly paced and choreographed and wildly entertaining as one could hope for. There were a few times that pretty much made my jaw drop. There is even some legitimately hilarious slapstick humor inserted into a couple of these scenes. These are the types of action scenes that put those in most Hollywood action films to shame. Ana de Armas proves herself to be an excellent action stat and handles each action sequence like a pro. She also has the pure charisma it takes to pull such a role off. Her character is also a great lead character. She is the type of character that it is easy to care about and sympathize with and we do so throughout the film, even if the movie doesn't hide the darker parts of her personality. Having her be physically weaker than many of her opponents and having to overcome that by fighting dirty also helps give the action scenes a great little twist that makes them all the more exciting and inventive. The story itself may be simple, but it is engaging and makes us care about what happens next. Once more the film never once becomes boring or loses its audience's interest. The movie also does a great job expanding upon the world of the previous films in the franchise, while staying perfectly true to the lore. This makes this movie an even greater delight to those of us who love this franchise. 

This is everything I could have hoped for it to be. 

Movie Review: Dangerous Animals

 

Michael's Movie Grade: B

A straightforward but effective thriller. 

This movie features a pair of young women who are aboard a boat with a serial killer who plans to feed them to the sharks and film it. Unlike many thrillers today there is no big plot twist or reveal here nor is there any social or political commentary. Rather this movie simply provides what its basic premise promises. While this may not result in anything groundbreaking or new, it does provide some real excitement. The suspense sequences are very well done, with director Sean Byrne (The Loved Ones (2009), The Devil's Candy (2015)) getting every possible bit of excitement that it can out of them. The pacing during these scenes is wonderful and every time you may think our main character is safe, a new obstacle comes in her way. Our main hero herself may lack any complexity (and her romantic plot is kind of bland), but Hassie Harrison gives this character a real charm and likability. However, it is Jai Courtney who really steal the show as the film's villain. This role is over the top and Courtney enjoys every wild and crazy moment he can. He is having so much fun in the role that you kind of have fun watching him at the same time you feel repulsed by him. This is the perfect way to play such a character. It not only makes him more fun to watch but it also makes him even creepier and more disturbing because he is simply enjoying his horrific acts so much. 

This movie may be very familiar and blend in with other thrillers to an extent. However, it is also very well made and often exciting.  

Movie Review: The Life of Chuck

 

Michael's Movie Grade: A+

A pure masterpiece.

This film marks one of the best Steven King movie adaptations, which is no light praise. Though best known for his horror work, King is a very diverse writer, whose talents go beyond just scaring someone and nowhere is this clearer than in the author's non-horror works. This is what the masterful filmmaker Mike Flanagan perfectly conveys in this adaption of a non-horror short story from King. Flanagan is also an artist who is best known for his work in horror and has already made an adaption of one of King's horror stories, Doctor Sleep (2019). Though three connected stories The Life of Chuck explores some complex existential themes and the first of these stories is rather abstract in its storytelling (the other two stories are much more straightforward). Yet what makes this film work is that it never comes off as pretentious or artsy.  The focus is instead on the characters and the human experience. Because of this what could have come off as cold and experimental instead is emotionally gripping from start to finish. The characters feel completely real to us and their experiences (no matter how abstract the film may get) are instantly relatable. The honesty of these experiences will ring true to anyone who has experienced even the most basic parts of life (starting with those of childhood). Though the movie may ask big questions, it focuses on life's smallest moments and finds the beauty and power in each of them. Adding to all this is a sharp and often hilarious sense of humor, a gorgeous visual style, a sweet and likable romance and a wonderful cast.

If I have been vague as to what this film is about or what themes it explores that is because it is best to go into this film not knowing much about the story or its themes. It is best simply to go in with an open mind that is willing to let the movie's magic take you by surprise and wash over you. 

This is simply a must see. 

Movie Review: Karate Kid: Legends

 

Michael's Movie Grade: C+

A fun but instantly forgettable movie.

 Though this film treads no ground that the previous Karate Kid movies hadn't, there is quite a bit to enjoy here. The clichés that fill this movie have become clichés for a reason and even if the movie follows a formula, it follows a formula that works. The new main character here is a very likable kid and we root for him from the first scene. As well as being likable, he is set up as being the perfect underdog making us cheer his victories and also feel his losses. Ben Wong is a very good young actor and exudes likability and charm. The returning character (played by Jackie Chan and Ralph Macchio) are a lot of fun, and the two actors have great chemistry with each other. The young romance even works quite well coming off as very charming. What is surprisingly great about this film is the humor, which is often quite funny. 

Unfortunately, as well as the story feeling overly familiar, it also feels quite rushed at times. This familiar and rushed storyline make this a movie where you will enjoy watching it but forget about it not long afterwards. 

The movie also suffers from some surprisingly bad visual filmmaking at times. The use of special effects is often too obvious and takes you out of the movie, and the brief bits of animation distract rather than add to the story. This is nothing however compared to the few montages that appear during this film. These montages don't only take you out of this movie but can look shockingly inept (especially with an over reliance on stock shots) for a theatrically released film.

This is far from a great movie, but it does have its charms.