Ethan Cohen's new neo-noir is pure style over substance.
There is quite a bit to enjoy about this movie. The film has a great neo-noir feel and look to it that is simply a lot of fun to fans of the genre. This even includes some great noir style dialogue that pays homage to the classics without directly copying them. The cinematography and sets here are also wonderful bringing us a great sense of atmosphere. The cast is also incredible. Margaret Qualley is fantastic as a character, who is almost a female spin on Phillip Marlowe. Aubrey Plaza is wonderful as a deadpan police officer who ends up playing a major role in the story. Chris Evans truly steals every scene he is in with a role that allows him to go completely over the top. He is obviously having the time of his life playing this role and we have the time of ours watching.
However, once you get past this, the movie is completely hollow. The mystery doesn't make a lot of sense and is full of plot holes. The tone is wildly uneven going from over-the-top comedy to extremely gory action to serious drama. The silly parts feel at odds with how dark much of this movie gets at times. The social and political commentary is way too simplistic and doesn't really say anything. The humor is not funny at all.
There is a bit to enjoy about this movie, but it still is a real disappointment from Ethan Cohen.
The best thing about this game is the levels themselves. While there may not be a lot of originality here, the levels are a lot of fun. They capture the fast-moving spirit and clever designs of the best Sonic games. They are short, quick and a lot of fun. The artwork and music in these levels are fantastic, and the controls are easy to master. However, the part of these stages is how they transition from 2-D to 3-D. Some levels are completely in 3-D while other or completely in 2-D, however it is the levels that transition from one to the other that really stood out to me. The boss fights are also quite a bit of fun as well. These boss fights often feel quite unique and different from each other, making them never feel repetitive. I am especially a fan of the final boss fight, which is broken up into three parts, each of which have you fight the boss in a completely different way. I also very much enjoyed the boss fights with the new villain Infinite, who has a reality bending ability that constantly keeps you on your toes and provides a real visual treat to these battles. The difficulty progression is odd here. Some of the levels and fights can get quite difficult (though with unlimited lives the game never gets too frustrating), however the final few levels and battles are surprisingly easier than some of what has come before. This doesn't really work from a storytelling standpoint as it feels a little anti-climactic even if the levels and battles are fun on their own.
This game has you play as three characters, classic Sonic, modern Sonic and a character you create yourself. I am not a fan of the idea of classic Sonic and modern Sonic being characters from different dimensions. I think it comes off as completely unnecessary as the idea of their being three Jokers. It also adds unnecessary complications to what should be a simple story. For the character, you create yourself, I find that not much freedom is given in the creation. Because of this, despite how creative you are, this character will simply come off as too nondescript. The fact that you character is not given much of a voice or a personality only adds to his blandness. Despite this the moves you are given as this character, make him fun to play as.
Unfortunately, the storyline is a bit of a mess, despite a strong premise of Eggman having already won and Sonic and his friends being freedom fighters. This story gets bogged down with too many characters and unnecessary complications. Also, with how the storyline really builds up the danger and threat, the ending can't help but feel anti-climactic. This story feels like it is leading up to the biggest battle Sonic has faced yet, but it only leads up to a typical Sonic style climax.
2008 is quite possibly the most important year for superhero movies. This is mainly due to two films that came out that year. It was the year both The Dark Knight and Iron Man were released. The Dark Knight helped usher in more mature and thematically significant superhero films. At the same Iron Man began the phenomenon that would become known as the Marvel Cinematic Universe. Despite the many films and streaming series that have come out since then, Iron Man still remains one of the strongest MCU entries.
In this film, Tony Stark, the billionaire head of the weapon manufacturing company Stark Industries, rethinks everything when he is kidnapped and held in an Afghan cave. There he finds that terrorists have a hold of his weapons. He creates a weaponized suit of armor to help fight evil himself becoming the superhero Iron Man.
This still stands as one of the greatest superhero movies ever made. Its not-so-secret weapon is Robert Downey Jr. as the main character. He is utterly fantastic here and makes you easily believe every second. He is charismatic in a way that you can completely understand how so many falls so easily under his character's charm. He delivers the comedic moments with an expertly handled sarcastic wit. Yet he can also truly make you feel the emotions in the more serious moments. While this movie works heavily due to him, the supporting cast is also great including his love interest (Gwyneth Paltrow) and his best buddy (Terrence Howard). Both of these co-stars not only are excellent in their roles, but they have great chemistry with Robert Downey Jr. Much of the film's success is also due to Jeff Bridges as the villain. He is perfectly cast as a villain that you simply love to hate. Many of the later MCU films would suffer from weak villains making it quite extraordinary that the first MCU villain is actually a complete success.
Another important factor for this film's success is the balance of tone. This movie perfectly knows when to be dead serious and when to be silly comic book style fun. The filmmakers and cast were able to capture both the serious moments and the fun moments completely perfectly. Unlike in some later MCU movies, the sillier moments and the more serious moments never get in the way of each other. This is because both come so naturally out of the story and characters that you don't even think about the tonal shift. Instead, both aspects just feel like a natural progression of the story. The serious scenes also hold a surprising amount of weight reflecting on the time it was made in and the political turmoil present. Yet it always has enough humor and comic book fun to keep the movie from becoming too serious. The humor and action here are both excellent. There are multiple times watching this movie that I laughed out loud. The action set pieces are fantastic being both a lot of fun and full of a real sense of tenseness. The final battle still remains one of the action highlights of the MCU.
One of the most important parts of this film is its after credits scene, where Nick Fury shows up to tell our hero about the Avengers initiative. Not only did this start the trend of superhero films having a post credit scene (which would eventually become true of most franchise films), but it also hinted at this movie being a part of a much bigger universe, something that had never been done previously. Originally there were hints in this scene about the X-Men and Spider-Man, both of which at the time had their movie rights owned by other studios. Spider-Man wouldn't join the MCU until Captain America: Civil War (2016) and the first MCU X-Men movie is yet to be released. About casting Samuel L. Jackson as Nick Fury, director Jon Favreau stated, "We wanted something for the fans.... Nick Fury from the Ultimates — which is a new series of books that sort of reconceives the tradition of Marvel characters — he was always depicted to resemble Samuel L. Jackson. And so I turned to [Marvel Studios President] Kevin Feige and said, 'You know what would blow their minds? Should we so this?' Kevin was like, 'Let's try.' And then we actually pulled it together. It was just a little scene, just a little tip of the hat for the fans that we were paying attention to what had been established, and a way to sort of tee up the Avengers. We brought [Jackson] in on a secret day of shooting, we had a skeleton crew so that the secret wouldn't get out — and then, like, not even a week later, it got out. Sam was trying to deny it. It became a big deal. People were sure and they knew about it and they knew it was real. I don't know how they knew. Somehow it slipped.... It was Kevin's idea to cut [the scene] off all preview prints. And so the fan boys who would interview me [before the movie opened] would be like, 'What happened? Did you cut it out? Is it going to be on the DVD?' I was like, 'Look, it's only fun if it's a surprise.' Then we slapped it right back on the print for the premiere, so the first people to see it in theaters actually got to see it for the first time. I think that was a very, very clever way to keep the dialogue going with the fans, because if you don't have any tricks up your sleeve, they feel like they've already seen the whole movie before they did."
As well as directing the film, Jon Favreau also acted in the movie playing Tony's bodyguard and chauffer, Happy. He would return to this role in plenty of the future MCU movies. Favreau had been acting in films since the 1990's appearing in such movies as Rudy (1993), Batman Forever (1995), Deep Impact (1998), The Replacements (2000) and Daredevil (2003). His pre-Iron Man directorial efforts include Elf (2003) and Zathura: A Space Adventure (2005). Though he would go on to act in more MCU films, Favreau would only direct one more, Iron Man 2 (2010). His most famous post-Iron Man directorial efforts were the "live action" Disney remakes, The Jungle Book (2016) and The Lion King (2019).
The credited writers on this film are Mark Fergus, Hawk Ostby, Art Marcum and Matt Holloway. This is the only MCU movie for any of these writers. However, Art Marcum and Matt Holloway would work on two non-MCU Marvel movies, Punisher: War Zone (2008) and Kraven the Hunter (2024). Mark Fergus and Hawk Ostby would work on another Jon Favreau movie, Cowboys and Aliens (2011).
The movie was a major hit grossing $585.8 million worldwide. It had the eleventh biggest opening weekend at the time. Not only did audiences enjoy this movie but critics praised it as well. Roger Ebert gave the movie four out of four stars. He especially praised Robert Downy Jr.'s performance stating, "At the end of the day it's Robert Downey Jr. who powers the lift-off separating this from most other superhero movies." A.O. Scott of The New York Times called this, "an unusually good superhero picture. Or at least – since it certainly has its problems – a superhero movie that's good in unusual ways." Leonard Maltin had a contrary opinion. In his famous movie guide he states, "Not-bad adaption of the Marvel comic book ... but there are too many misfired ideas (like the Middle Eastern setting, uncomfortably real for a piece of escapist entertainment) and a retro heroine in Paltrow's lovesick Girl Friday." After the box office and critical success David Maisel (who was Marvel Studio's chairman) stated, “I couldn’t imagine a better blast off for our new Marvel Studios than this. The Marvel brand is beloved. People know it stands for a summer, family-friendly action movie. And we had fantastic casting.”
Resources Used
Leonard Maltin's Movie Guide: The Modern Era by Leonard Maltin.
This film follows various different stories that all end up tying into each other. How well these stories tie together is probably the movie's greatest asset. This is masterfully done and these stories that at first seem to have no relationship to each other all meet up perfectly. This movie also benefits from its ability to shift tones from very quirky comedy to quite serious. It does this so naturally that you often won't even think about it. The quirky tone to much of the comedy also works great. I love how unabashedly over the top the humor is here. It is often quite funny but even when it doesn't make you laugh it still has its quirky charms. The same thing can be said about the characters. These characters may not be deep or complex, but they have quite a bit of quirky charm. This charm is enhanced by a very game cast that includes Sydney Sweeney, Paul Walter Hauser, Halsey, Eric Dane and Zahn McClarnon. However, it is child actor Gavin Maddox Bergman, who steals the show as a young white boy, who believes he is the reincarnation of Sitting Bull.
As a huge country music fan, I also loved this movie for its soundtrack. Sydney Sweeney's character wants to be a country singer, and she has darn good taste in country music. Because of this you get to hear Emmylou Harris, Geroge Jones and Tammy Wynette on the soundtrack. This of course endeared the movie to me automatically.
Writer/director Tony Tost (this marks his first feature film as his previous work has been on TV series) was obviously very inspired by the films of Quentin Tarantino and the Cohen Brothers. This can become a little too obvious at times. The breaking up of the movie into chapters feels kind of pointless here unlike in the Tarantino films that inspired it. With the lack of depth to its characters and story, even if this is a good movie (which it is) it unfortunately has to live in the shadows of its influences.
Despite any flaws though this is a very fun and entertaining movie.
This is the final segment of the thirteenth 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, Superman and Flash team up to save passengers on a stranded aircraft when they are attacked by Tibetan Raiders.
This is a very well-made cartoon. A Himalayan setting allows for some incredibly atmospheric background art. This atmosphere is enhanced by a great pitch-black sky and some snow effects in front of all the action. Though the villains are no match for Superman or the Flash, the action scenes are well done and fun to watch. This is an extremely simple story but that is its charm. Sometimes we don't need something complex or on a large scale. Sometimes a simple story of superheroes saving the day is all we need and that is exactly what this episode provides.
What makes this movie so effective is how simple it is. The majority of the movie takes place inside a house, where the police are interrogating a family after an unconscious woman is found in their house (we are not shown what actually happens). The basic simplicity of the story works well to the film's advantage as the basic drama is not bogged down by unnecessary complications. Plus, at only 82 minutes it is short and to the point without a single boring moment. The story itself is quite intense especially with some great dialogue and masterful pacing that builds the tension perfectly. Making this a chamber film also adds a claustrophobic feel that increases its tension. This movie may be dialogue heavy, but this is made up for with incredible performances from the likes of Nnamdi Asomugha (who also directed (his directorial debut and co-wrote this film), Melissa Leo, Aja Naomi King, Amari Alexis Price and Aiden Gabrielle Price, all of whom make their characters feel real and completely believable.
As effective as this movie is as a thriller it is less effective as a social commentary. This movie tries to make a commentary about racial tensions and injustice but unfortunately it gets this over with little to no depth or subtlety.
Despite its weak social commentary, this is a truly gripping thriller.
Hello, my friends and welcome back for another service of Cowboy Church.
Today's musical selection starts off with Roy Rogers and Dale Evans singing The Lord is Counting on You. This song was written by another legend of cowboy gospel legend, Stuart Hamblin, who also wrote This Ole House, It is No Secret (What God Can Do), and Open Up Your Heart (And Let the Sunshine In). Hamblin was also an actor and had played the villain in one of Roy's movies, The Arizona Kid (1939). This version of the song comes from Roy and Dale's 1959 album, Jesus Loves Me.
This is followed by Don Bester and his orchestra with their 1933 recording of The Last Round Up. Neil Buckley is singing lead on this recording.
Afterwards is Johnny Cash and Merle Haggard with Sing Me Back Home on a 1969 episode of TV's The Johnny Cash Show. This song was written by Merle and was based off a true story that happened while he was in San Quentin State Prison for attempted robbery. It was the title track of his 1968 album.
Next comes one of the most popular country gospel songs performed by the man who wrote it. The song is I Saw the Light and the singer and songwriter was Hank Williams. Hank wrote this song as he was heading home from a dance in Fort Deposit, Alabama. His mother was driving him home and told her son "Hank, wake up, we're nearly home. I just saw the light" (she was referring to the light near Dannelly Field Airport). Hank wrote the song on the rest of the way home. The song melody-wise strongly resembles Albert E. Brumley's He Set Me Free, but I Saw the Light has certainly taken on a life of its own apart from the earlier song, heavily through the powerful and inspiring lyrics that do what Hank did best as a songwriter, convey something powerful and moving in a way that seems so simple and unpretentious. Hank recorded this song on his first MGM recording session (April 21, 1947). However, even though he was the first to record this song, his version was not the first released. Producer Fred Rose gave it to two other singers (Clyde Grubbs and Roy Acuff), both of whom had their versions released before Hank.
Then comes Glen Campbell with I Surrender All. This song was written by Judson Van de Venter in 1896. A schoolteacher, who was being called to become an evangelist it took him five years to surrender and leave his teaching job for what was his true calling. This song reflects this brave and faithful action.
Now for The Sons of the Pioneers with their 1951 recording of The Lord's Prayer. The lyrics of this song come directly from the Bible (specifically Jesus himself). The music was written by Albert Hay Malotte in 1933.
Today's musical selection ends with Anne Wilson with Til the Road Runs Out. This song is from her 2025 EP God Story.
Now for the fourth chapter of the Buck Jones movie serial, The Red Rider (1934).
Now for a message from the Reverand Billy Graham.
Rendering service with a good will as to the Lord and not to man, knowing that whatever good anyone does, this he will receive back from the Lord, whether he is a slave or free. Ephesians 6:7-8
Each of you should use whatever gift you have received to serve others, as faithful stewards of God's grace in its various forms. Do not be slothful in zeal, be fervent in spirit, serve the Lord. 1 Peter 4:10-11
Be kind to one another, tenderhearted, forgiving one another, as God in Christ forgave you. Ephesians 4:32
Bearing with one another and, if one has a complaint against another, forgiving each other; as the Lord has forgiven you, so you also must forgive. Colossians 3:13
Then Peter came up and said to him, “Lord, how often will my brother sin against me, and I forgive him? As many as seven times?” Jesus said to him, “I do not say to you seven times, but seventy-seven times." Matthew 18:21-22
If we confess our sins, he is faithful and just to forgive us our sins and to cleanse us from all unrighteousness. 1 John 1:9
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with the Disney Silly Symphony short, The Tortoise and the Hare (1934). This was an especially important cartoon in the history of American animation and is often credited with bringing a real sense of speed that had not previously been seen in cartoons. Director Wilfred Jackson once told in a 1939 studio lecture that this was their first film where "we depicted speed on the screen. Before that time nobody dared to move the character across the screen in five frames." However, unlike future fast paced cartoon this film was not simply a quick procession of gags. Animator Dick Huemer told film historian Joe Adamson, "If [any other studio] had done The Tortoise and the Hare it would have been a series of assorted gags about running one after another. Not all this clever, boastful stuff like stopping with little girls and bragging and being admired and showing off how he could play tennis with himself." The character of Max Hare perhaps has a greater significance to cartoon history rather than just starring in this great film. Tex Avery and Frank Tashlin (both of whom had directed cartoon for Warner Brothers) have stated that Bugs Bunny was greatly inspired by Max Hare. Animator Ham Luske also stated that Mortimer in the Mickey Mouse cartoon Mickey's Rival (1936) was based off of Max Hare (Ham animated on both cartoons). Such a cartoon however would not have the effect it does now if not for the top-notch group of animators working at Disney at this time. They were the ones who made not only the speed work but made these characters feel more real and full of personality here. Louie Schimdt animates the opening scene with the crowd at the starting line. Dick Lundy (who would go to direct cartoons for both MGM and Walter Lantz) animates the introduction of Toby Tortoise and Max Hare and Toby running with the snails, dodging branches and passing Miss Cottontail's school. Milt Schaffer animates the crowd in the bleachers and at the finish line. Frenchy de Trémaudan animates the starter. Ham Luske animates Max running, tricking Toby, showing off for the girls and playing tennis and baseball with himself (some of the tennis animation would later be reused in the Donald Duck cartoon, The Hockey Champ (1939). Future Disney legend and one of Walt's Nine Old Men was Ham's assistant animator. Larry Clemmons animates the trees being uprooted. Eric Larson (another of Walt's Nine Old Men) animated Max passing the picket fence and crane. Les Clark (another of Walt's Nine Old Men and one of the finest Mickey Mouse animators) animates the little girls. Dick Huemer animates the finish of the race and of the film. A song was written for this cartoon called Slow but Sure. This song had music by Frank Churchill and lyrics by Larry Morey. While the lyrics are never heard an instrumental version is used as Toby's theme music. About the music in this film Wilfred Jackson would state in another 1939 studio lecture, "We tried to phrase it so the peaks of the siren [used as a repeating sound effect] would fall naturally on the peaks of the music and still give us time to cut back and forth." This cartoon would make its TV debut on an episode of the Disneyland TV show entitled From Aesop to Hans Cristian Anderson (1955). Max and Toby would later star in a sequel film Toby Tortoise Returns (1936) and would appear in the opening of TV's The Mickey Mouse Club.
Now for the Fleischer Screen Songs cartoon, Somebody Stole My Gal (1931).
Now for the Blue Racer in Punch and Judo (1972).
Next comes a classic Bob Clampett cartoon with Daffy Duck and Porky Pig, Tick Tock Tuckered (1944). This was a remake of Clampett's earlier, Porky's Badtime Story (1937). In that film Porky had been teamed with the short-lived Gabby Goat, in this film Gabby is replaced with the much better-known Daffy. This short shows how far Clampett had come in his directing style. Tick Tock Tuckered is fast moving, constantly funny, crazy and just a pure cartoon gem through and through.
Now it is time for a commercial break.
Next comes the first of Walt Disney's Alice comedies, Alice's Wonderland (1923). Before this film was even close to done with production, Walt was already writing distributors stating, "We have just discovered something new and clever in animated cartoons!" He was speaking of the idea of having a live action character enter into an animated cartoon world. This was actually a reversal of what the Fleischer Brother were doing with their Out of the Inkwell films, were animated characters entered our live action world. For the live action little girl Walt hired four-year-old Virginia Davis. Walt had seen Virginia on an advertisement for Warneker's Bread. Virginia later spoke of this stating, "It was just a picture of me smiling and looking like 'Oh, yum, yum!' and eating this piece of Warneker's Bread with a lot of jam on it." At the time of making this film, Walt and his studio were struggling financially. While many producers would take this as a reason to make a cheap film, Walt plugged into the project with everything he had. This short was downright lavish compared to much of Walt's previous work and still looks great today. Unfortunately, the film was not enough to save his company, but it did catch the attention of Margaret J. Winkler, who was also distributing the Felix the Cat and Out of the Inkwell cartoons. His studio went under, and Walt moved to Hollywood without his crew. Yet he had this film and was able to secure a deal for 12 more Alice films with Winkler.
Now for our hero Little Roquefort in Mouse Meets Bird (1953).
Before Bugs Bunny, Daffy Duck or Porky Pig, the main star of the Looney Tunes cartoons was a little boy named Bosko. Before making his theatrical debut, he appeared in a short film called Bosko the Talk-Ink Kid (1929) that was created not to be seen by movie audiences but by distributers who would hopefully pick up a series of Bosko cartoons. Yet it was from these humble origins that Looney Tunes was born. The cartoon was created by former Disney animators Hugh Harman and Rudolph Ising. Harman claimed he had been wanting to make a sound cartoon since 1927 when animator Rollin Hamilton visited his apartment and read him an article about sound film. Harman would state, "I got to thinking about that, and I thought that if the images of the person could be replaced with an image of a cartoon, you've got the same thing." What makes this film stand out is that the use of sound focuses on dialogue instead of music as the Disney cartoons did around this time. Harman made a sheet of drawings of Bosko that were copyrighted January 3, 1928. By the spring of 1929 he claimed to have been working on a Bosko cartoon for over a year. By August 1929 work began on this film. Harman and Ising had prepared a detailed script and not long afterwards animators Rollin Hamilton and Friz Freleng (who would later become one of the best Looney Tunes directors) began the animation process. The film combined live action featuring Rudolph with animation. The voice of Bosko was provided by Max Maxwell. Maxwell is providing a stereotypical black voice to the character. This voice would in later films be replaced by a high falsetto (in order to imitate Mickey Mouse). Maxwell was off screen while doing Bosko's voice. However, a second camera was filming him so the animators could get the mouth movements correctly.
Today's cartoon selection ends with The Simpsons in Family Therapy (1989). This short was made for The Tracey Ullman Show before the animated family 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
Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Hollywood Cartoons: American Animation in its Golden Age by Michael Barrier
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald
Walt in Wonderland: The Silent Films of Walt Disney by J. B. Kaufman and Russell Merritt.
In Barbara Leaming's biography of Bette Davis, the author seems to have a strong disdain for her subject. There is scarcely a kind word said about the movie star here and she comes off as a bit of a monster. Leaming's use of words often reveals a complete lack of sympathy for Bette. While Bette Davis was a very flawed individual, when you aren't allowed to sympathize or relate to the subject in a biography, it makes for rather cold and uninvolving reding. The entire book made me feel still a great distance from the subject. This book tells of many horrible things Bette did but doesn't give any insight into why she did it. In other words, the lack of sympathy and empathy for Bette keep us from ever getting close enough to her to know who she was as a person. This can end up feeling more like a gossip tabloid rather than an actual biography.
Even Leaming's look at Davis's filmography is mostly dismissive. She praises a handful of her films and performances and dismisses all the others.
With this said, the research here is very admirable. This book is packed with a lot of great and insightful information about Bette's film work and personal life. I found a recorded conversation between Bette and Mae West incredibly invaluable. Even the biggest Bette Davis fans will learn a lot from this book.
With all the great research that went into this book, it is even sadder that this is such a cold and distant read.
This sequel has a wonderfully fun premise. Trying to get away from his job killing people and spend more time with his family Hutch takes his family to where he had his favorite vacation spot as a kid. However, when his planned vacation spot ends up being run by a corrupt and dangerous woman, he finds himself back in the danger he tried to get away from. The idea of a trained killer simply trying to enjoy a simple vacation but finding himself reluctantly pulled back into the danger is ripe with comedic protentional. While the first movie had its share of humor, this sequel becomes just as much of a comedy as it is an action film. It is hard to complain about this, when the humor is as laugh out loud funny as it is here. The whole packed audience was laughing themselves silly watching this film and I laughed out loud quite a few times myself. Despite more focus on comedy, this film is not lacking at all in action. There is as much over-the-top gory fun as fans of these R-rated action movies love. These action scenes are as much over the top silly fun as an R-rated gorier version of a Looney Tunes cartoon. And at only an hour and a half, this movie moves at a fast pace and is very fun from start to finish.
Of course, like in the first film the real not-so-secret weapon is Bob Odenkirk in the lead role. He is not your typical action star and that is what makes him so perfect as this often-reluctant hero. At the same time, he handles the action scenes and comedy perfectly. He also has wonderful chemistry with Connie Nielsen (as his wife), Christopher Lloyd (as his dad), Gage Munroe (as his son) and Paisley Cadorath (as his daughter), which is incredibly important for a movie that is just as much about a family man as it is about a killer. Sharon Stone is also a true scene-stealer as a delightfully over the top villain.
Though Timo Tjahjanto did not direct the first film, he is able to bring the same charm to this sequel. He is set to direct The Beekeeper 2, and hopefully he will do just as great with that action movie sequel.
Orson Welles: The Road to Xanadu is the first in a series of books stage/film director Simon Callow has written about Orson Welles. It covers Orson's life from childhood to the making of Citizen Kane (1941).
This is an incredibly engaging read. Focusing on only part of Orson's life, allows it to be much more in depth than the average biography. Even those who are very familiar with Orson's work and life will learn a lot from this book. Callow goes into great depth into many of Orson's stage and radio productions (and even greater into Citizen Kane), while still having plenty of room to paint a picture of his personal life and who he was as a person. The writings about his stage and radio productions are especially valuable to Welles fans as most writings about him seem to focus on his film work. Not only do we get great detail about the making of these productions but there is also great critical insight (as the author has worked on the stage as well). This critical insight often praises Orson's genius showing how it was very evident even at this early stage, while also not being afraid to criticize, his flaws as a storyteller. This is a fair and unbiased look at his work and while it may be very critical one always feels the author's fondness and appreciation for his work. The same can be said for Callow's portrait of Welles as a person. The book does not shy away from Welles' flaws as a person, yet it is a derogatory piece either and is just as quick to point out his better qualities. By the end of this book, we feel a much greater understanding of Orson Welles as a person.
I am an unabashed fan of the live action Disney comedies. Even the ones with less than stellar reputations, I still kind of enjoy. However sadly the Disney studio has been making less and less of these movies. That is why I was looking quite forward to seeing this new one. Sure it may be a sequel to a remake, but I still looked forward to seeing it. As this film started I sadly started to have some doubts. The story felt rushed and some of the jokes felt quite forced. However as soon as the body swapping happened, this movie really took off and proved to be a real delight. Having four characters swap bodies allowed this movie to follow the basic formula of the previous films, while not directly copying any of them. All four of these main characters are quite well written. During the early scenes, they seem one dimensional but as the film goes on we learn more about them and they become more and more likable. The four main actresses are also incredibly wonderful here (Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sophia Hammons) are all wonderful in their roles and have great chemistry with each other. Because of this even while being a silly comedy, this movie knows how to tug on your heartstrings when it wants to. Though in the early scenes the humor falls flat as it goes on the comedy gets funnier and funnier. The audience I was with laughed out loud quite a few times and I joined in a few times myself.
The soundtrack is also excellent and greatly enhances the movie. A mixture of current pop music and alternative rock that sounds very early 2000's-ish, perfectly reflects the generational gap that plays a major role in the story. Conveying this through the use of songs is a very clever and fun way to make this culture gap all the more effective.
Despite a weak start, this is a delightful and incredibly fun movie.
For the most part, this thriller about a man who protects whistle blowers who are in danger is very much in the vein of classic old-school thrillers. There are hardly any action scenes until the last act. Instead, this film builds tension through its story and characters. For most of the film, the story is very straightforward and that is what makes it work. We like these characters and when the danger they are in is effectively built up little by little. Because of this gradual building of tension, it truly hooks you for the majority of the runtime. By the time the action sequences actually come, they are much more tense and exciting then they would have been otherwise. It also helps that the characters are very easy to relate to. For the man who is protecting the woman in danger, we see learn that he is a recovering acholic. To see him struggle to keep away from this addiction as things get tense only makes him feel more real and human to us. This part could have been left out but it adds a lot to the drama and makes the character more real to us. The performances from Riz Ahmed and Lily James are truly wonderful and make us feel fully gripped even during the most dialogue heavy scenes. The villains of this movie are also excellent, creating just the right amount of danger and tension.
The one thing that keeps this movie from getting an "A" is a huge plot twist towards the end. Unfortunately, when it comes to modern thrillers the filmmakers often feel like there must be some major plot twist that completely changes how we view everything that came before. While this can sometimes work quite well, in most cases it feels completely unnecessary. That is definitely true here, where the twist feels like it exists to simply to shock rather than because it is a good ending for this story. It is shocking but it doesn't make a lot of sense and it doesn't make the story any better. However this twist happened so late in the movie, that it did not even come close to ruining what was otherwise a great movie.
Despite a very weak ending, this is a gripping and wonderful thriller.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans singing a medley of Whispering Hope and Star of Hope. Whispering Hope 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 lovely medley comes from Roy and Dale's 1973 gospel album, In the Sweet By and By.
This is followed by Anne Wilson with The Devil is Too. This comes from her 2025 EP, God Story.
Afterwards is The Sons of the Pioneers with their 1935 recording of One More River to Cross.
Up next comes Johnny Cash with Jesus Was a Carpenter. What I love about this song is that it takes about what happened back when Jesus was on Earth, but it puts it in a modern context even looking at many of today's political and social issues. This shows that the Bible is just as true today and that even after all these centuries we can still apply it to what is going on in our world today. The very idea of praising Jesus in socially conscious folk song, paints a great picture of what Johnny Cash and his music were all about. This recording comes from his 1970 album, Hello I'm Johnny Cash.
Then comes Patty Loveless with Precious Memories. Though this is a sweet uplifting song, it was based upon a tragedy. In 1922, John Wright lost his five-year-old son. Wright would later say about this song, “’Precious Memories’ was born in the midnight hours as I bathed by pillow with tears, likewise all my songs came through life’s severest tests.” Though this is a very famous hymn, John Wright only received $36 for writing it. He would remain a janitor that was always struggling to make ends meet for his entire life.
This is followed by Alison Krauss and The Cox Family with Remind Me Dear Lord. This comes from their 1994 gospel album, I Know Who Holds Tomorrow.
Now for Sister Rosetta Tharpe with her 1944 recording of Strange Things Happening Every Day.
Today's musical selection ends with The Sons of the San Joaquin with their medley of Sweet Hour of Prayer, Amazing Grace and Great Is Thy Faithfulness. This wonderful medley comes from their 1997 gospel album, Gospel Trails.
Now for the third chapter of the Buck Jones movie serial, The Red Ryder (1934).
Now for a message from S.M. Lockridge.
For this very reason, make every effort to add to your faith goodness; and to goodness, knowledge; and to knowledge, self-control; and to self-control, perseverance; and to perseverance, godliness; and to godliness, mutual affection; and to mutual affection, love. 2 Peter 1:5-7
Better a patient person than a warrior, one with self-control than one who takes a city. Proverbs 16:32
Do not deprive each other except perhaps by mutual consent and for a time, so that you may devote yourselves to prayer. Then come together again so that Satan will not tempt you because of your lack of self-control. 1 Corinthians 7:5
For I was hungry and you gave me food, I was thirsty and you gave me drink, I was a stranger and you welcomed me, I was naked and you clothed me, I was sick and you visited me, I was in prison and you came to me. Truly I tell you, whatever you did for one of the least of these brothers and sisters of mine, you did for me. Matthew 25:35-40
And if it is evil in your eyes to serve the Lord, choose this day whom you will serve, whether the gods your fathers served in the region beyond the River, or the gods of the Amorites in whose land you dwell. But as for me and my house, we will serve the Lord. Joshua 24:15
For you were called to freedom, brothers. Only do not use your freedom as an opportunity for the flesh, but through love serve one another. Galatians 5:13
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
With a lovely English backdrop, Rolfe Kent's charming score, a leisurely pace and a top-notch cast (including Scarlett Johansson, Sienna Miller, Emily Beecham and Kristin Scott Thomas (who also directed and co-wrote this film), this film provides a nice, pleasant trip to the movies. Because of this there is definitely enough to enjoy about it. However, when you get past the pleasant exterior, you find that this movie is completely hollow inside. There is no depth or emotional center to latch on to. Though this movie tries to have some serious drama and a message towards the last act, this again rings hollow as the drama never feels real to us and the message feels forced.
Though pleasant enough, this movie lacks any real depth and there it becomes hard for it to stand out among many similar movies.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with a delightful short film starring Mickey Mouse, Musical Farmer (1932). This was the next to last film Mickey made for Columbia Pictures before his shorts would be distributed by United Artists. The latter part of this cartoon with the henhouse being treated as an assembly line recalls an earlier Disney film, the Alice Comedy, Alice's Egg Plant (1925). This idea though would be best used not in a Disney short but in a Warner Brothers cartoon, Swooner Crooner (1944). Musical Farmer was released to theaters on June 8, 1932 and was the next to last Mickey Mouse cartoon to be distributed by Columbia before the Disney films would be distributed by United Artists. This short film made its TV debut on an episode of The Ink and Paint Club entitled Musical Mickey (1998).
Up next is the Fleischer Screen Song short, Whispers in the Dark (1937). The title song was written by Friedrich Hollaender and Leo Robin. Other songs written by this duo include My Heart and I, Awake in a Dream and Moonlight and Shadows. Whispers in the Dark was written for the feature film, Artists and Models (1937) (not to be confused with the Martin and Lewis movie of the same name), which starred Jack Benny and Ida Lupino. In that movie the song was performed by Connee Boswell with Andre Kostelanetz and His Orchestra and received an Oscar nomination for Best Original Song (it lost to Sweet Leilani from the Bing Crosby movie Wakaki Wedding (1937)). In this cartoon the song is performed by Gus Arnheim and his Band with June Robbins. This short film reached theatres on September 24, 1937.
In 1997 animation legend Chuck Jones wrote a children's book starring Daffy Duck and Bugs Bunny titled Daffy Duck for President. When Warner Brothers decided to follow the feature film, Looney Tunes Back in Action (2003) with a series of new animated Looney Tunes shorts for movie theaters, one of these shorts was a cartoon based off this book. Daffy Duck For President (2004) never got the theatrical release it should have as Looney Tunes Back in Action proved a disappointment at the box office. However, this is a truly delightful cartoon. It was dedicated to Chuck who had passed away in 2002.
Next comes the Blue Racer in Camera Bug (1972).
Now it is time for a commercial break.
Now it is time for a classic silent film with Mutt and Jeff in A Restless Night (1916).
Now comes Mickey Mouse in Big House Mickey (2001). This cartoon originally aired in the House of Mouse episode, Rent Day (2001).
Next is the Aesop's Fables cartoon, The Family Shoe (1932). Like many cartoons from the Van Beuren studio, the highlight is the lively musical score by Gene Rodemich.
For those of you still in suspense, here is the epic conclusion, Maggie in Peril (The Thrilling Conclusion) (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 American Animated Cartoons by Leonard Maltin
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
One of the funniest movies to come out in a very long time.
Oh, how I have missed this type of absurdist, abashedly silly and unashamedly stupid type of comedy. Though there have been comedies in recent years, comedies as silly and stupid as this have become all too rare today. I am happy to report that the new Naked Gun movie is not only as silly and dumb as you could hope but it is also laugh out loud funny. It has been a long time since I have laughed this much at a new movie. Yet this movie had me laughing from start to finish. There was a gag nearly every second of this wonderful movie and somehow most of them hit the bullseye.
As a major fan of the three preceding Naked Gun movies and the Police Squad TV show (which the movies were based off of), this felt perfectly in line with those comedy classics. In fact, if it wasn't for the different cast and some modern references (don't worry the filmmaker never overdo these) this could easily been mistaken for one of the Naked Gun movies from the 1980's and 90's. Director/co-writer Akiva Schaffer (whose directorial debut was the delightfully silly comedy Hot Rod (2007)) completely understands what made the previous movies and TV series so much fun and captures it perfectly here. He also understands that to a movie like this the comedic energy and the delivery are just as important if not more so than the gags themselves. Liam Neeson also perfectly understands the assignment. What made Leslie Neilsen, so perfect in previous entries in this franchise is that he had been a dramatic actor and played his role as Lieutenant Frank Drebin as if he was playing a dramatic role. Liam Neeson is an actor who is not especially known for comedy (though his cameo in Ted 2 (2015) was easily the funniest part of that film) and plays the role of Lieutenant Frank Drebin Jr. with the same amount of seriousness. Having Neeson react to the stupid humor that populates this movie in a serious fashion or say a completely silly line in a serious tone makes each gag even funnier.
If I had one complaint about this movie, it is that the big climatic scene, while still quite funny, is not as memorable as that of the first and third Naked Gun movies. However, with how much this movie made me laugh that is hardly a complaint at all.
One of the highlights of a movie buffs year is the annual Cinecon film festival, this year taking place at the Writers Guild of America Theater in Beverly Hills. This festival is a four-day weekend (August 29-September 1) mostly made up of rare and obscure films (some of which you won't be able to watch anywhere else) as well as new restorations of classic films. Though there are some movies from the 1950's and 60's, the bread and butter of the festival are films from the 1910's, 20's, 30's and 40's with a passion for the type of B movies that greatly outnumbered the more prestigious films of that era. Some of the highlights for this year include special guests such as Ann-Margret, Juliet Mills, Mamie Von Doren, Pat Boone, Maxwell Caulfield and the family of silent film actress Myrtle Gonzalez, new restorations of two classic silent Laurel and Hardy shorts, restorations of Max Fleischer cartoon shorts, Modern Love (1929) a rare feature film featuring the great Charley Chase, the Marion Davies feature It's a Wise Child (1931), the great James Stewart western The Rare Breed (1966), a panel on the making Bride of Frankenstein (1935), some rare television appearances from Dick Van Dyke (there is always a brief portion dedicated to vintage TV in this festival) and one of Charlie Chaplin's best short films (Easy Street (1917)). If you don't have any plans this Labor Day weekend, there is no better way to spend it then going to Cinecon. To buy tickets or view the full schedule go to Cinecon's website by clicking on this link.
For any of those whose idea of a classic movie skewer more towards the 1990's, you are covered as well. Some truly delightful films from the 1990's are returning to regular movie theaters. First up is Teenage Mutant Ninja Turtles (1990). This live action film starring our favorite shell wearing and pizza eating heroes is returning to theatres as a Fathom Event on August 17 and 20. A one-night event with the two Tim Burton directed Batman movies (Batman (1989) and Batman Returns (1992)) will be playing at 160 select AMC theaters in Dolby on August 25. Very exciting for me especially is that Casper (1995) will be returning to movie theaters for its 35th anniversary starting on October 3. Just in time for Halloween, this delightful family film will hopefully delight new audiences on its return to the screen. Though this movie has more than a few detractors and doesn't have the best critical reception, it holds a special place and my heart and is a Halloween tradition for me. I can't wait to see these delight 1990's films on the big screen and become a kid once again (I was born in the 1990's).
This sequel captures all the charm of the first film, while even building on it. This movie has all the same fast paced and wacky energy that is still a compete blast to watch. It also has all the incredibly well executed action scenes that can hold their own with those from live action flicks or anime. The story is once again full of a great sense of adventure and fun one-upmanship between the characters. Speaking of the characters, they are wonderful here. What I love about these characters is that not only are they likable on their own, but they work even better together. The friendships between these characters feel completely real and heartfelt (without ever being mushy or overly sentimental). The comedic interplay between these characters is also a lot of fun and it is a joy to watch them play off each other. This film also does a great job of examining who these characters truly are deep down as they struggle when life after reforming doesn't go as smoothly as they hoped. Watching them struggle with wondering if they truly did the right thing makes for some surprisingly good drama. This is where the movie actually transcends the original. The new characters are also excellent, and this film has a wonderful new trio of villains that have more than a little in common with our heroes.
While this film has a few laugh out loud moments, I do admit to finding the first film stronger in the humor department. The majority of gags here were more likely to make me smile or chuckle than truly laugh. There was nothing bad about any of these gags (except that one fart joke went on much too long) but it just simply isn't as string in this department as I had hoped.
This is the second feature film directed by Pierre Pernifel, whose first directorial feature was the first Bad Guys (2022). He however served as an animator on such Dreamworks movies as the first three Kung Fu Panda movies, Shrek Forever After (2010), Rise of the Guardians (2012), Mr. Peabody and Sherman (2014) and Penguins of Madagascar (2014). His co-director is JP Sans for whom this is his first feature film as a director. He had worked as an animator on such movies as Rio (2011), Rise of the Guardians, Trolls World Tour (2020) (for which he was a supervising animator), The Bad Guys (for which he was head of character animation), Puss in Boots: The Last Wish (2022) and Ruby Gillman: Teenage Kraken(2023).
The reason this movie works so well is because it very emotionally honest and has a great understanding of its main characters. The authenticity comes from the fact that these characters are real people who are played by themselves. Director/writer Kate Beecroft spent three years in South Dakota with the Zimiga family, where she got to know Tabatha Zimiga and her teenage daughter Porshia Zimiga. Though the movie itself is a fictional story, it borrows many elements from the lives of the real people who inspired it. This film about the two living on a horse ranch which is also the home to other teenagers who either have families that either can't financially support them or want to take the time to raise them. Meanwhile the mom has financial trouble with her ranch and there is a great deal of friction between mother and daughter when Porshia's father dies. What is most remarkable about this movie is the main performances from the real-life Tabitha and Porshia. Despite not being professional actors, these two give top-notch performances that always feel real, honest and completely believable. Perhaps because of their true connection to the story, this allows them to access these emotions in such a way that actors playing the role couldn't have done as well. With this in mind nearly every emotional moment involving either of these characters is incredibly emotional effective. One scene towards the end had me tear up in a way I didn't expect to at all. Though the story goes through many familiar beats, the execution makes it, so these familiar beats still hit very hard.
This movie's main flaw though lies in the supporting characters. As completely real and complex as the mother and daughter are, the other characters are rather bland and forgettable. Many of them simply feel like plot devices instead of actual characters. When it comes the group of teenagers living with our main characters, they have little in the way of distinguishable personalities. Because of this these characters become essentially interchangeable, and it is hard to even remember their names.
Despite any flaws though, this is a drama that truly packs an emotional punch.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with the Sons of the Pioneers with their 1952 recording of Land Beyond the Sun.
This is followed by 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.
Afterwards is The Blue Sky Boys with their 1946 recording of Dust On the Bible.
Next is Harry McClaskey with his 1918 recording of Lord I'm Coming Home.
Then comes Anne Wilson with Twenty-Three. Like many of her songs, this 2025 recording deals with the death of her brother and dealing with turning the same age he was when he died. This song pulls on your heartstrings, as she puts so much of her heart and sense of loss into it. For anyone who has ever lost someone close to them, this song will speak deeply to them. This song is part of Anne's new EP, God Story.
We continue with Johnny Cash and U2 with The Wanderer. This song was written by Bono in 1993 (under the working title The Preacher). The song was inspired by the book of Ecclesiastes but takes place in a future time with a narrator who is worried about the lack of God in society. It is considered to be one of Bono's best songs, but for some reason whenever he tried to record it himself, it didn't work for him. Then he came up with the brilliant idea of having Johnny Cash sing the song (this idea came to Bono when he learned Johnny was going to be in Dublin). Bono would say that Johnny would teach him a lot about how to deliver a song like this during this recording section giving advice about how to put over each word effectively. Johnny told a reporter, "I don't know if it will ever be released or even what it's called." The song would be released on the U2 album, Zooropa (one of U2's most experimental albums) and John would state that this song gave him a sense of artistic renewal.
Today's musical selection ends with The Sons of the San Joaquin singing The Boss Is Hangin' out a Rainbow. This is a cover of a Sons of the Pioneers song, and the song was written by Bob Nolan, one of the founding members of that group and one of my favorite songwriters. This version of the song come from the Sons of the San Joaquin's 1992 album; A Cowboy Has to Sing.
Now for the second chapter of Buck Jones movie serial, The Red Rider (1934).
Now for a message from pastor Greg Laurie.
Like a city whose walls are broken through is a person who lacks self-control. Proverbs 25:28
For this very reason, make every effort to add to your faith goodness; and to goodness, knowledge; and to knowledge, self-control; and to self-control, perseverance; and to perseverance, godliness; and to godliness, mutual affection; and to mutual affection, love. 2 Peter 1:5-7
My dear brothers and sisters, take note of this: Everyone should be quick to listen, slow to speak and slow to become angry. James 1:19
No temptation has overtaken you except what is common to mankind. And God is faithful; he will not let you be tempted beyond what you can bear. But when you are tempted, he will also provide a way out so that you can endure it. 1 Corinthians 10:13
So then, let us not be like others, who are asleep, but let us be awake and sober. 1 Thessalonians 5:6
For the grace of God has appeared that offers salvation to all people. It teaches us to say “No” to ungodliness and worldly passions, and to live self-controlled, upright and godly lives in this present age. Titus 2:11-12
Everyone who competes in the games goes into strict training. They do it to get a crown that will not last, but we do it to get a crown that will last forever. 1 Corinthians 9:25
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons.
Today's cartoon selection begins with a classic Disney short starring Pluto, Cat Nap Pluto (1948). This short film also features Figaro, who made his big screen debut in the Disney feature film, Pinocchio (1940) as Geppetto's cat. The cat would prove such a popular character with those at the Disney studio he would also be used in the studio's cartoon shorts.
Ub Iwerks is a legend of animation if there ever was one. His work with Walt Disney (the two co-created Mickey Mouse) in the 1920's remain some of the highlights of Disney history and it is hard to imagine where Disney would be without Ub. However, thoughts on the cartoons he himself heading after leaving Walt prove not to be as popular with cartoon fans. While I do agree that none of this work reaches the height of the best of his Disney work, I personally feel there is a lot to enjoy about these cartoons and that includes his Flip the Frog cartoons. Up next is one of those, The Cuckoo Murder Case (1930). The following is a review from Motion Picture News, "Fifteen or more series of animated cartoons on the market at one time make the going tough for this type of short. That is unless they are turned out with the cleverness of 'Cuckoo Murder Case,' one of the Flip the Frog subjects produced by Ub Iwerks. Here the cartoonist takes the usual mystery slant but sends it over with loads to spare. The answer is in the treatment. Iwerks has Flip go through the most amazing contortions. This shows real thought."
Next up comes a clip from The Fleischer Screen Song cartoon, When Yuba Plays the Rumba on the Tuba (1936). The music in this film is provided by The Mills Brothers. This includes not only the title song but the music throughout the cartoon, much of which is done with scat singing. Music-wise The Mills Brothers through their own version of scat singing were able to sound like a full band using only their voices and one guitar. This type of music works remarkably well as the score for a cartoon.
The Hound For Hire – Sam Basset, Private Eye series of theatrical shorts is hardly held in high regard. In fact, Jerry Beck has often included these films in his annual Comic-Con panel, Worst Cartoons Ever. Despite this, there is a certain corny charm to films, even if one would never call them good. So "enjoy" Case of the Nervous Sheriff (1961).
Now it is time for a commercial break.
Up next comes the Pixar short, Luxo Jr. (1986).
The most famous film animator/comic strip artist Winsor McCay made is easily Gertie the Dinosaur (1914). This film was actually a vaudeville act before it was in theaters. The act consisted of Winsor McCay talking to his animated dinosaur Gertie. He would tell her what to do and Gertie would do it (most of the time). This was translated to theaters by having an off-screen narrator, who speaks through intertitles (since this was a silent film). This film has often times wrongly been called the first cartoon ever made. While this is not true (It isn't even McCay's first cartoon, it is his third), its place in animation history is still extremely important. The reason for this is Gertie, herself. She is one of the first animated characters that the audience was allowed to see think. Unlike most of the earlier silent cartoon characters, Gertie does not seem like she is just moving drawings projected on a screen, but instead like a real character that we know and relate to over the course of the film. This was the beginning of character animation, and one of the first successful attempts at it. Like McCay's earlier short Little Nemo (1911) this film begins in live action. Winsor McCay bets his fellow cartoonists that he can make a dinosaur come to life and boy does he. This cartoon still holds up incredibly well today and received the number 6 spot in Jerry Beck's book, The 50 Greatest Cartoons.
For those of you who are still in suspense here is Maggie and Peril (Chapter 2) (1989). Be sure to stay tuned next week to see what happens.
Today's cartoon selection ends with the Looney Tunes TV special, Bugs Bunny in King Arthur's Court (1978), which was produced, directed and plagiarized by Chuck Jones.
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 American Animated Cartoons by Leonard Maltin
