This movie about an upcoming football player who gets a chance to train with his hero and uncovers dark secrets about what it takes to become a great football player, has some good ideas. However, all of these ideas are completely wasted in this extremely messy movie. The tone is all over the place here and goes from being a very serious social commentary to an over-the-top parody to being a horror picture. None of these elements mesh together at all. The parody gets so over the top and silly that it is hard to take the commentary or horror seriously. This is not to say that any of these elements would have worked well on their own. The comedy is never funny, as the filmmakers seem to think that simply being over the top is funny in and of itself. The social commentary is even worse. While there is something to be said about how cultish sports have become in America, this movie beats you over the head with everything it has to say. After so much religious and cultish symbolism is constantly thrown at you, you may want to shout, "I get it already" to the screen. I am not saying that a movie like this should be subtle, but it doesn't have to constantly beat us over the head with everything it needs to say either. As the story gets sillier and more over the top, the social commentary gets even more heavy handed. The horror is more of a joke than the actual comedy. The film's attempts at horror are embarrassingly inept, relying solely on the cheapest of jump scares and bloody images that simply feel unnecessary. Actors Marlon Wayans and Tyriq Withers try their best with the material they are given. However, if you could get a cast of the greatest actors of all time, they couldn't even make this mess of a movie to work.
I am almost in awe of just how bad this movie is. ·
Hello everybody. It is once again that wonderful holiday, National Silent Movie Day.
Let us start this holiday themed post with the most famous name in silent movies, Charlie Chaplin.
Charlie Chaplin is considered to be one of the big four of the silent film comedians. The other three are considered Buster Keaton, Harold Lloyd and Harry Langdon.
Of course there are other great silent movie comedians including Mabel Normand, Roscoe "Fatty" Arbuckle, Laurel and Hardy and of course the Keystone Cops.
Of course there were some great dramatic filmmakers during the silent era such as D.W. Griffith, Lois Webber and F.W. Murnau.
I am a big fan of J.B. Kaufman and Russell Merritt's book, Walt in Wonderland: The Silent Films of Walt Disney.
Now for some of Walt Disney's silent films themselves.
Of course I am an avid watcher of TCM's Silent Sunday Night.
My favorite place to watch silent movies is Old Town Music Hall in El Segundo, California, where all silent films are accompanied by the Mighty Wurlitzer Pipe organ.
Hello, my friends and welcome back for another service of Cowboy Church.
Today’s musical selection begins with the King of the Cowboys and The Queen of the West, Roy Rogers and Dale Evans with Jesus in the Morning. This song reminds us that we are not only to leave a small part of the day with Jesus as our focus but all day long as well as every day. We should wake up each morning with Jesus on our mind and go to bed each night the same way. While few of us will succeed with this every day, we will find that each day we do it will be an enriching day that will makes us grow as a person. This song comes from Roy and Dale’s 1973 gospel album, In the Sweet By and By.
This is followed by Moe Bandy with The Old Rugged Cross. The song itself dates back to 1913 and was written by evangelist, George Bennard. Actually the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then.
Afterwards comes Blind Willie Johnson with his 1927 recording of Jesus Make up My Dying Bed. Bob Dylan would later perform this song on his 1962 debut album and Led Zepplin would later record it on their 1975 album, Physical Graffiti. Both Bob Dylan and Led Zepplin would record the song under the title, In My Time of Dying.
Then comes The Sons of the Pioneers with their 1948 recording of Rounded Up in Glory. In a 1972 interview Ken Griffis asked Sons of the Pioneers front man, Bob Nolan, "Well, OK. As you progressed as a group, did you use the older type songs as the basis for your programs? Or did you try to blend in more the newer things? Did you try staying with the older things?" Bob responded, "Yeah, we tried to stick strictly to the old ones and, of course, I had an idea or I felt that my songs—the ones that I was writing at the time—were authentic. I tried to keep them authentic. Western." This applied not only to the songs Bob wrote, but the songs the group recorded written by others. There was always a real cowboy feel to nearly all the songs they recorded. That is definitely true here, as this song sounds like something that would feel completely natural in an old west setting.
This is followed by Jean Shepard with Life's Railway To Heaven. This recording comes from her 1968 gospel album, I'll Fly Away.
Next is Anne Wilson and Lainey Wilson with an acoustic version of Praying Woman. The two originally recorded this song on Anne Wilson's 2024 album, Rebel.
Today's musical selection ends with Johnny Cash singing his self-penned song Man in Black on an episode of his TV show. This song was inspired by a trip John made to Vanderbilt University, where he was asked various questions about himself and what he believes. The song would be released as a single in March 1971 with Little Bit of Yesterday being its B-Side. In May of 1971 it would be the title song of a new album of his. That album also included another political song from John, Singin' in Viet Nam Talkin' Blues, which was released as a single that May as well. That 1971 album was one where John was extremely vocal about his beliefs as it was filled with both political and Christian songs. The title song expresses both his political and Christian beliefs.
Noe for the tenth chapter of the Buck Jones movie serial, The Red Rider (1934).
Now for a message from Billy Graham.
Greater love has no one than this, that one lay down his life for his friends. John 15:13
Therefore encourage one another and build each other up, just as in fact you are doing. 1 Thessalonians 5:11
Anyone who withholds kindness from a friend forsakes the fear of the Almighty. Job 6:14
A perverse person stirs up conflict, and a gossip separates close friends. Proverbs 16:28
Have I not commanded you? Be strong and courageous. Do not be frightened, and do not be dismayed, for the LORD your God is with you wherever you go. Joshua 1:9
You are the light of the world. A city set on a hill cannot be hidden. Matthew 5:14
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. Welcome back for another selection of classic cartoons.
Today's cartoon selection begins with the film that introduced the character of Woody Woodpecker to movie-goers, Knock Knock (1940). However, this cartoon is part of the Andy Panda series, and Andy Panda and his dad are the true stars of the movie. Yet it is Woody who gets the best laughs and steals the show. Producer Walter Lantz would later state that the idea for this film would be inspired by a woodpecker hammering at his roof during his honeymoon at Sherwood Lake California. However, this story has been disproven by many film historians. Leonard Maltin would write in his landmark book, Of Mice and Magic: A History of American Animated Cartoons, "This delightful story has apparently undergone some showmanly embellishment, since the honeymoon occurred one year after the production of the cartoon." If Woody here seems very familiar to the early Daffy Duck or the early prototype for Bugs Bunny this is not a coincidence. Recently having joined the Lantz staff was Ben "Bugs" Hardaway, who had worked for Looney Tunes and with said characters. This cartoon feels a lot like many of the Warner Brothers cartoons that Hardaway had directed. Also helping add to the similarity is that Woody is voiced by Mel Blanc, the voice of Daffy Duck and Bugs Bunny.
Next comes the Fleischer Screen Songs cartoon, Time on My Hands (1932). This short has an early appearance of Betty Boop (as a topless mermaid) and a song performed by Ethel Merman. Betty even turns into Ethel Merman at one point.
Now for the Terry Toons cartoon, The Little Red Hen (1955). This short is directed by Connie Rasinski.
Rare for a character from a Disney feature film (at least during the Walt era), Jiminy Cricket continued being used at the Disney studio well after being introduced to audiences in Pinocchio (1940). He would go on to appear in another Disney feature, Fun and Fancy Free (1947), he would appear in some episodes of the Disney anthology series and would be a regular presence on TV's The Mickey Mouse Club. He would appear in the theme song and host various short segments, where he would function in the role of an educator, teaching kids about safety, science and health. One of these segments was the I'm No Fool segment, where he would teach kids how to be safe. These segments first aired on the TV series but were later sent to schools as 16mm educational films. Now enjoy, I'm No Fool with Fire (1955).
Now it is time for a commercial break.
Now for the early Looney Tunes cartoon, Bosko Shipwrecked! (1931). This was the first Looney Tunes cartoon to be solely directed by Hugh Harman. In the previous cartoons Hugh Harman and Rudolf Ising would direct the films together. However, from this point on, for the most part, Hugh Harman would direct the Looney Tunes, while Rudolf Ising would direct the Merrie Melodies. The shot of Bosko running away from the lion would be later used in the opening credits of the Futurama episode, Anthology of Interest I (2000).
Now for a classic silent cartoon with Krazy Kat Invalid (1916). For those of you unaware Krazy Kat was a newspaper comic strip that ran from 1913 to 1944 (I highly recommend seeking it out and reading it as it is still very funny today). The comic strip origins are very obvious here as this cartoon feels like a moving comic strip.
Up next is the first pairing of Daffy Duck and Speedy Gonzales, It's Nice to Have a Mouse Around the House (1965). The two would be paired together in 25 more cartoons.
Today's cartoon selection ends with The Simpsons in Watching TV (1987). This is one of the shorts made for The Tracey Ullman Show before the animated family got their own TV series.
Thanks for joining me. Be sure to come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Pinocchio: The Making of a Disney Epic by J.B. Kaufman
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
An okay thriller but well below what I have come to expect from Paul Thomas Anderson's films.
This movie works best as a straightforward thriller. The action scenes are very well done, and PTA's direction of these scenes are as great as you would expect from such a master. The climatic action scene is especially exciting. PTA also manages to keep visual interest throughout, and this is a very handsome looking film. Though the characters are quite underwritten (and few of them are likable), the all-star cast (Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor, Chase Infiniti) all lend their movie star charm to the role.
While the melding of genres can often be one of PTA's greatest assets as a filmmaking, here it doesn't quite work. The tone feels all over the place and this keeps us from having any real emotional connection. It also doesn't help that the humor is often quite unfunny, and the political commentary is too surface level to ever make the audience actually think.
Paul Thomas Anderson as proven himself to be one of the greatest filmmakers working today, bringing us lots of masterpieces. So, if this new movie falls short of his best work, it will hardly leave even a small blemish on his filmography.
Best known today for his role as Osgood Fielding III in Billy Wilder's Some Like It Hot (1959), where he delivered the famous ending line "Well, nobody's perfect, Joe E. Brown had actually been one of the most popular movie comedians of the 1930's. He was especially popular in small towns, where his self-assured and boastful but good-hearted character resonated with audiences. Between 1933 and 1936, Brown was named one of the top 10 money makers in the movies. Though Brown occasionally appeared in great movies, most of his films were programmers. This is to say films that were meant to be a pleasant part of the movie program with no pretentions about being anything more. These movies were quite successful at being just this and most of them are still entertaining today.
Here is a 1930 article from Screenland magazine that provides us with "Joe E. Brown's Real-Life Story." If you have trouble reading it click on any of the pages below and use your touch screen to zoom in. If you don't have a touch screen, click here.
Here is Joe E. Brown on a 1954 episode of TV's This is Your Life.
This movie follows a teenage girl, who befriends an alien that the authorities think is dangerous. The basic storyline is a familiar one and comparisons to ET and The Iron Giant are inevitable. For a movie with this familiar of a storyline to stand out, the story must be told exceptionally well. Luckily that is completely the case here. Although certain parts of this film may be a bit intense for some kids, I can picture a kid seeing this and falling completely in love with it the way previous generations fell in love with the aforementioned movies. Everything about this movie is truly excellent. Like in all the best fantasy movies, the heart of the film rests in its main character. While she is not a perfect person and has more than a bit of the angry teenager in her, she is instantly relatable and easy to care about. We see so much of ourselves in her and can feel the pain she is going through having lost her dad. We see and understand why she felt she needed to build a wall around her. Because of this we know that beneath her rough exterior, she has a real heart of gold. This is especially shown through her relationship with the alien, which feels completely real and compelling to us. All of this is helped out a lot by 19-year-old (and already horror queen) actress, Lulu Wilson, who is fantastic in this main role. The alien itself is also fantastic. Unlike similar movies the alien design is not cute but in fact quite creepy looking. Because of this we start out a little weary of the creature but end up falling in love despite our initial reaction to its appearance. The creature has to truly earn our love and because of this the attachment we feel is greater.
The creepy design to the creature and how lovable it ends up being, also perfectly reflects the tone of this movie. This is a movie that stresses the importance of something pure in a cynical world. There is a real warmth and sweetness to the relationship between the two main characters. At the same time the world of the film is full of cynical people, who can and will never understand the purity of the bond formed here. The movie lets us known very early on that these characters are never going to simply be won over because they see a heartwarming scene. This allows the movie to have a sentimental feel to it without ever feeling naive. This mixture of what is sweet and pure with what is cynical and without understanding makes this movie feel more emotional honest than other similar movies and helps make it feel like something special.
In this movie, a man and a woman who have had no luck at relationships (more than partly due to themselves), meet a wedding and find themselves going on a fantasy like journey together where they must relive moments of their pasts. This basic storyline is very clever and mostly effective. It causes us to look at our own lives and how they have shaped how we see the world and our relationships with others. It also leads to some quite effective emotional moments. However, the main charm of this film comes from the main characters. They are far from perfect characters and both of them have hurt a lot of people. Despite this they want to and are trying to be better people. This makes us relate to them because many of us are flawed individuals trying to be better. The romance itself works more because of the chemistry between Colin Farrell and Margot Robbie than anything else.
Of course, this movie benefits from a great musical score by one of my favorite film composers Joe Hisaishi (best known for his work on the Studio Ghibli films).
The humor in this movie is quite hit and miss. There are some truly hilarious moments mixed in with comedic moments that are really bad.
Despite this movie's charms, it does suffer from some overly cliché and forced dialogue that sounds too carefully planned out to be believable. There are also many times when the filmmakers seem to be trying too hard to seem profound but in reality, aren't saying anything we haven't heard many times before.
This movie is like its main characters. That is to say it is very flawed but still has its charms.
In this film, a recently sober ex-improv comedian is unhappy with trying to live a normal life, as his fiancée insists, he doesn't do stand-up anymore. On Christmas Eve he ends up chipping his tooth and spending an amazing day with his pretty dentist that causes him to rethink many things.
This movie has a lowkey charm that I completely fell for. Rather than moving directly from plot point to plot point this story unfolds at a leisurely pace. It lets us spend time with and get to know these characters. As the film continues, we enjoy simply spending time with these characters more and more. It almost feels like spending Christmas with good friends. While these characters are far from perfect, they are real and human. We see much of ourselves in them and therefore connect with them on a real level. This is of course helped by the sheer charm of Michael Strassner and Liz Larsen in the lead roles and the real chemistry between them. Because of this when the emotional moments occur, they are incredibly effective.
As well as just being charming this movie is often laugh out loud funny. The over the top but still somewhat grounded situations these characters get themselves into provides some great laughs. The dialogue is also often quite witty and funny.
Christmas may at first seem like a simple backdrop for this story, but this movie wouldn't be anywhere near as effective if it took place any other time of year. The Christmas imagery as well as the Charlie Brown Christmas inspired soundtrack add a lot to this film's relaxed charm.
A must see.
P.S. I don't know why they released a Christmas movie in late September.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with Jesus Loves the Little Children. Jesus would state, “Truly I tell you, unless you change and become like little children, you will never enter the kingdom of heaven. Therefore, whoever takes the lowly position of this child is the greatest in the kingdom of heaven. And whoever welcomes one such child in my name welcomes me." There is no doubt that Jesus did love the little children, and he loves us big children too. If we will humble ourselves and become like little children, the blessings he has for us are immeasurable.
This is followed by Patty Loveless with [We Are All] Children of Abraham from her 2009 gospel album, Mountain Soul II.
Afterwards is Johnny Cash with Are the Children In.
Then comes Anne Wilson and Jordan Davis with Country Gold. This is an acoustic version of a song from Anne's second album, 2024's Rebel.
Next is Connie Smith and Nat Stucky with Crumbs from the Table. This is from a 1970 gospel album the two country singers did together that is called Sunday Morning with Nat Stuckey and Connie Smith. This was the second album that the two made together. The first was 1969's Young Love. The idea to pair the two come from the record company, as both had recently had major hits and the company believed that their two voices would blend very well together. They were right.
Now for The Sons of the Pioneers with their 1948 recording of Rounded Up in Glory.
Next comes The Carter Family's classic 1927 recording of Can The Circle Be Unbroken. This song was based off of the 1907 Christian hymn (written by Charles H. Gabriel and Ada R. Habershon), Will the Circle Be Unbroken. Uncle A.P. Carter reworked this song changing the lyrics to be about the death of a mother. Though this version would be covered by an incredible amount of artists, many of them would change the title back to Will the Circle Be Unbroken as well as changing that one word in the chorus. However these cover versions would use A.P.'s lyrics for the rest of the song. This is one of my all time favorite songs, because it is a sad song, but one which also finds hope within its darkness. This is a song about trusting in God in times when it is very difficult to, which is something many gospel songs don't cover but which many Christians struggle with.
Today's musical selection ends with Jean Shepard with Too Much to Gain to Lose. This comes from her 1969 gospel album, I'll Fly Away.
Now for the 9th chapter of the Buck Jones movie serial The Red Rider (1934).
Now for a message from S.M. Lockridge.
Love is patient and kind; love does not envy or boast; it is not arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice at wrongdoing, but rejoices with the truth. Love bears all things, believes all things, hopes all things, endures all things. Love never ends. As for prophecies, they will pass away; as for tongues, they will cease; as for knowledge, it will pass away. 1 Corinthians 13:4-8
If your enemy is hungry, give him bread to eat, and if he is thirsty, give him water to drink. Proverbs 25:21
So that you may be sons of your Father who is in heaven. For he makes his sun rise on the evil and on the good, and sends rain on the just and on the unjust. Matthew 5:45
Beloved, let us love one another, for love is from God; and everyone who loves is born of God and knows God. Matthew 5:45
Bear with each other and forgive one another if any of you has a grievance against someone. Forgive as the Lord forgave you. Colossians 3:13
How good and pleasant it is when God’s people live together in unity! Psalm 133:1
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 one of the all-time classic Merrie Melodies cartoons, A Corny Concerto (1943). This cartoon is very much a parody of Disney's recent animated feature, Fantasia (1940) with the unrefined Elmer Fudd taking over the Deems Taylor role. Earlier the same year this cartoon was released another Merrie Melody parodied Fantasia with an unrefined wolf doing the Deem Taylor role. That cartoon was called Pigs in a Polka (1943). A Corny Concerto was directed by Bob Clampett (who also made some of the vocal sound effects here) and written by Frank Tashlin. It is odd to have Tashlin write a Warners cartoon he didn't direct. Tashlin had in fact just returned to Warners after a stint at Disney, making him a perfect candidate to write this Disney parody. This film features another rarity for a Warners cartoon. That is the fact the Bugs Bunny and Porky Pig share the screen. This is the only time Porky hunts a fully formed Bugs Bunny, though he did hunt a prototype of the character in Porky's Hare Hunt (1938). It has been debated whether or not the Duck that appears in the second part of this cartoon is or isn't Daffy. I like to think of him as Daffy, myself. Despite having Porky, Bugs and probably Daffy, Mel Blanc doesn't do a single voice in this cartoon. That is because the characters he usually voices don't talk for the whole film. The only speaking voice heard is Arthur Q. Bryan as Elmer Fudd. Also notice that Bugs makes Porky and his dog into a couple of boobs. This cartoon appropriately appears in Jerry Beck's book, The 100 Greatest Looney Tunes.
Next comes the Fleischer Screen Song cartoon, Twilight on the Trail (1937). This is a bit of a departure for the series as the title song is a cowboy tune rather than the usual jazz or pop tune. The song was written by Louis Alter for the movie The Trail of the Lonesome Pine (1936). The title song would later be the basis of a B-Western starring William Boyd appropriately named Twilight on the Trail (1941). In this cartoon, the song is performed by Louise Massey and The Westerners. Louise Massey was a popular country/western singer of the 1930's and 40's, though she is mostly forgotten today.
Now for the Aesop's Sound Fables cartoon short, The Wild Goose Chase (1932).
Up next is the Mickey Mouseworks cartoon, Mickey's New Car (1999). The cartoon first aired during the premiere showing of the TV special, Winnie the Pooh: A Valentine for You (1999). This short would later be used as part of the House of Mouse episode, Max's New Car (2001).
Now it is time for a commercial break.
Now it is silent film time with Mutt and Jeff in The Big Swim (1926). This is one of my favorite silent Mutt and Jeff cartoons. It is full of very clever and creative gags that perfectly fit the medium of silent film. Some of these gags even made me laugh out loud.
Next comes a classic Fleischer Popeye cartoon, I Never Changes My Altitude (1937). When movie magazines listed this cartoon, they changed the name to the grammatically correct, "I Never Change My Altitude." The following is an exhibitor's review from the Motion Picture Herald, "I Never Change My Altitude: Popeye the Sailor - These Popeye cartoons are very good for the kids. This one did not go over with the adults. Running time , eight minutes, A.J. Inks, Crystal Theatre, Ligonier, Ind. Small Town Patronage." Another exhibitor's review for the Motion Picture Harald, disagreed with this stating, " I NEVER CHANGE MY ALTITUDE: Popeye the Sailor—A good Popeye. Adults will enjoy this as much as the kids. Running time, seven minutes.— A. E. Eliasen, Rialto Theatre, Paynesville, Minn. Rural and small town patronage."
Before Bugs Bunny, Daffy Duck or Porky Pig, the first Looney Tunes star was Bosko. Enjoy one of his films with Bosko at the Beach (1932). This cartoon also includes Bosko's supporting cast, his girlfriend, Honey and his dog, Bruno.
Today's cartoon selection ends with The Simpsons in Making Faces (1987). This is one of the shorts 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
The 100 Greatest Looney Tunes edited by Jerry Beck
This book by historians Stephen Cox and John Lofflin is an essential read for any Abbott and Costello fan.
First and foremost, this book is a loving tribute to the boys. There is never a single second when you doubt, the love the authors have for Abbott and Costello. While they may criticize some of the boy's lesser work, even this is done with a love for what these two great performers are capable of. At the same time, the authors have no pretentions about why they enjoy the boys' work. They never try to present their films as some form of high art. Rather they acknowledge that the main reason, they love Abbott and Costello is that the duo makes them laugh. When so many critics and historians try to claim their favorite entertainers' work as great art and spend much of their writing simply explain why their work is so brilliant, it is quite refreshing to read a book where the authors simply praise a couple of comedians for being funny.
This book also delves into the boys' personal lives. It takes a very open and fair look at who these two were as people. It does not paint them as perfect individuals, but it avoids demonizing them in the way the other writers (and a controversial TV movie) have. In fact, it even dispels many of the fraudulent rumors that have spread about the two comedians over the years.
One of the most important aspects about this book is the sheer amount of research that went into it. This book features in-depth interviews with family, friends and co-stars. These interviews and various quotes from these individuals scattered throughout this book are endless fascinating and make us feel as if we are right these beside them as they make their classic movies (as well as their TV and radio shows). Even those who may think they have a great knowledge of Abbott and Costello will learn a whole lot from reading this book.
Also making this book essential is its filmography. The book not only lists every one of their feature length movies, but provides extensive credits, plot summaries and behind the scenes trivia for each one as well as some behind the scenes photos thrown in for good measure. This makes the filmography just as much a fun and important read as the body of the book. Yet the filmography does not stop there. It also provides every episode of their TV sitcom, with a cast list and plot summary for each one. But wait there is more. For us cartoon lovers and Hanna-Barbera fans, this also lists every episode of the Hanna-Barbera Abbott and Costello cartoon show (for which Bud Abbott provided his own voice) with a plot summary for each one. As some of these cartoons are not easy to see, this makes for very compelling and important reading to any cartoon fan (as well as any Abbott and Costello fan who is interested due to Bud providing his own voice).
For any Abbott and Costello fans this is essential reading. For any non-Abbott and Costello fans, this book just might make you one.
This movie has a few things going for it. One is that the action scenes are quite good. They are very well shot choreographed and paced. They also do a good job of making them feel grand without going overboard and becoming excessive. In other words, they are just the right amount of over the top. The movie also benefits from a likable main character. Sure he may be derivative of other movie action heroes, but we like him enough to care what happens to him and Dave Bautista brings a charm to the role.
On the other hand, this movie suffers from a lack of world building. For an action movie that is supposed to take place in a post-apocalyptic world, there is very little atmosphere. In fact, the world feels as simple and generic as possible. The movie also suffers from a weak villain and very cliché dialogue.
Makes for a decent trip to the movies, but is far from a great film.
I am again speaking with more than a tint of nostalgia, but this is my personal favorite of the Mario sports games. If I only have a tiny bit of time to play a video game, this is often the one I will play.
This is a very straight forward sports game. It does not bother much with a storyline, rather simply letting you get directly into the gameplay. However, when the game play is this much fun, I don't care at all. What is amazing is that the typical match is a straightforward tennis match with no Mario style gimmicks. There are no items and no obstacles in these regular matches, just simple tennis. The gameplay and controls are simple, easy to get used to and a lot of fun. This allows you to simply focus on the matches themselves rather than any gimmicks. The matches provide you with a good challenge but one that is never overwhelming hard. Though there are no gimmicks, there are a few fun little changes you can make to switch up the gameplay. One of these is you have an option between singles and doubles, both of which are a lot of fun. Another is that different characters (my favorite character to play as is Donkey Kong Jr.) have different skill sets. Some characters hit the ball harder than others, some move around the course quicker, and some are better capable of trick shots. This makes even what character you play as a part of your strategy. Also, different courses have different elements to them. Some courts cause the ball to bounce more than others for instance.
This game also has various alternative ways to play which feature the Mario style gimmicks that are not included in the main game play. Personally, I find these alternative ways to play, not as fun as the main gameplay.
The opening animation to this game is also a lot of fun and features a lot of good cartoony humor.
This is honestly one of my most played video games.
This movie tells the true story of a 59-year-old who gets his second chance at college football. He never finished his senior year of college, and he goes back to school so that he can play on the football team and make up for some of his regrets. Though this is based off of a true story, it follows all of the familiar beats of this type of underdog sports film. It adds nothing new to this formula, and you always know what is going to happen next.
This does not mean that the film is bad by any means. Actually, it handles these clichés with real skill. The filmmakers know exactly what people love about these movies and provide just that. We find it easy to root for this character and get excited and feel overjoyed when things go well for him. We root for him to get his chance and want to cheer when he does. His redemption story feels like wish fulfillment to all of us who want to re-do a part of our lives (which means all of us). This is made even more effective by a great performance from Michael Chiklis that gives a real emotional honesty to the whole film.
This movie may not offer anything new, but it tells its familiar story very well.
On the subject of kiddies shows and classic comedy shorts, starting in 1955, kiddie show host Joe Bolton hosted a show called The Clubhouse Gang. The series aired on the local New York City station, WPIX Channel 11. As well as the host segments, this show also consisted of classic Our Gang (also known as The Little Rascals comedies).
The following is a short 1955 article about this series from Radio TV Mirror. If you have trouble reading it click on the following page and use your touch screen to zoom in. If you don't have a touch screen click here.
Included in the following page (from a New York issue of TV guide dated September 10, 1955) is a little bit about Officer Joe Bolton. The same guidelines apply if you have trouble reading this page.
My fellow Three Stooges fans might also know that Joe Bolton would go on to host another kiddie show called The Three Stooges Funhouse, which would include many of the Stooges' best short comedies. He would also appear in two of The Stooges' feature length movies; Stop! Look! and Laugh! (1960) and The Outlaws is Coming (1965).
Here is a tribute to Officer Joe Bolton.
And here is a classic Our Gang short, Bored of Education (1936).
Though I am too young to have grown up with the old kiddie TV shows, the fact that they introduced a whole generation of movie lovers to silent comedies and classic cartoons endears them to me in a way. Along with all the fun with popular puppet characters, a mute clown and more, Howdy Doody (one of the most popular of these shows often showed clips of various silent comedies. These comedies included those from silent comedy producers Mack Sennett, Joe Rock and Al and Charles Christie as well as some from Educational Pictures and elsewhere. Harry Langdon, Mickey McGuire (a series of comedy shorts starring Mickey Rooney). The Smith Family (a silent series from the Sennett studio) are among some of the silent comedy shorts that appeared on the show.
The following is a short 1948 article from Radio and Television Mirror about Howdy Doody. If you have trouble reading it click on the pages below and use your touch screen to zoom in. If you don't have touch screen, click here.
Here is an episode of the show dated March 8, 1949 and featuring a silent Mickey McGuire.
In Scarlett Johanson's directorial debut, an elderly woman finds herself at a Holocaust survivors meeting (despite not being one) and before she knows it, she tells the story of a late friend's (who was a Holocaust survivor) story as if it happened to her. When a journalism student is visiting the meeting that day and wants to write an article about this story, things get very out of hand. A movie about someone lying about being a Holocaust survivor could easily come off as being in bad taste. However bad taste is one thing I could never accuse this movie of. Rather this film serves as an important reminder of why these stories need to be told and heard. The scenes in which we see our main character's friend talk to her about the Holocaust are incredibly moving a powerful as are the scenes where our main character feels guilt after claiming this story as her own. There were many scenes which moved me deeply emotionally, not all of them were pleasant to watch but they all made me appreciative that I did watch them. The key to emotional effectiveness of this movie comes from June Squibb in the main role. This 95-year-old actress has rarely received the appreciation she deserves as she is in fact an incredible actress who is equally adept at comedy and drama. She is able to make everything about this movie feel completely real and honest. Her chemistry with Erin Kellyman as the young journalism student is simply wonderful and the relationship between the two feels completely real and heartfelt. Along with the serious subject matter, this movie skillfully mixes in some great comedy. I was surprised at just how much I laughed at loud watching this film.
A charming but mostly forgettable animated kids movie.
This movie tells the story of a friendly ghost, who teams up with a group of monsters to help stop a machine that was created to rid the world of ghosts and monsters. There is little to nothing about this movie's storyline that you haven't seen before. In fact, this movie starts with our friendly ghost hero being taught how to scare people by her uncle but not wanting to do it because it wouldn't be nice (similar to a series of cartoons about another friendly ghost). As the movie goes on, its influences are still quite obvious. For a movie with such a familiar storyline, its main problem is simply that everything about it is pleasant but not exceptional. This makes it an enjoyable trip to the movies but one you will forget about not too long afterwards. There is not one thing about this whole film that is truly bad. The characters are likable, the look and animation are fine, the jokes may not make you laugh out loud, but they will make you smile and the movie moves at a fast pace. But it doesn't do anything great enough to stand above any similar movies to not simply get lost in the plethora of animated Halloween type family films.
I definitely enjoyed watching this film but I also know that I will probably forget about it in not too long.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans singing In the Sweet By and By. This song came about because of a friendship between composer, Joseph Webster and poet, Dr. Sanford Fillmore Bennett. One day Webster was depressed and Dr. Bennett recognized this. Dr. Bennett asked his friend what was wrong. Webster replied, "Oh nothing. Everything will be alright by and by." These words brought up an idea in Bennett and he wrote down three verses and a chorus to this song as soon as he could. He handed it to his friend saying, “Here is your prescription, Joe.” Webster loved the lyrics and wrote music for them in practically no time at all. Dr. Bennett later said, “It was not over thirty minutes from the time I took my pen to write the words before two friends with Webster and myself were singing the hymn.” The hymn was first published in 1868 and went on to great fame since. This version of the song comes from Roy and Dale's 1973 gospel album, In the Sweet By and By.
This is followed by Jean Shepard with Crying Holy.
Afterwards is Loretta Lynn with Harp with Golden Strings. This recording comes from her 1968 gospel album, Who Says God is Dead.
Next comes Kris Kristofferson with Burden of Freedom. This version of the song comes from Kris's 1972 album, Border Lord. He would later make another version for his 2006 album, This Old Road. A year before Kris wrote this song he had responded to an alter call and this song and Why Me Lord were responses to what that spiritual experience, one that Kris himself admitted he didn't fully understand yet. Around this time a resurgence was happening with Christian music. A lot had happened in recent years and as many young people had turned to God, they brought along their own types of music, that meant something to them personally. Therefore, much Christian music was no longer hymns but mire contemporary sounding music that paid tribute to God while reflecting the world these young Christians had grown up in. Johnny Cash would often play before these audiences as part of concerts mostly made up of the younger artists. Feeling it would be good for Kris to be in such an environment, John invited Kris and his wife Rita Coolidge to perform as well. Kris would play his own songs like Burden of Freedom or Why Me Lord. Yet Kris felt decidedly uncomfortable at these concerts. He would say about the experience, "I was singing songs, I thought were spiritual, but people wanted to hear more songs specifically about Jesus. Eventually I had to tell John that I couldn't do these type of shows anymore I felt like a hypocrite." (quotes from The Man Called Cash by Steve Turner).
Now for the Witney Brothers Quartet with their 1910 recording of Jesus Saviour, Pilot Me.
Then comes Kitty Wells with The Footsteps of my Lord. This recording comes from her 1962 gospel album, Singing on Sunday. The song was written by John D. Loudermilk. Loudermilk was a cousin to The Louvin Brothers. Though he was a recording artist himself, Loudermilk is best known for songs he wrote that were performed by other artists. Some songs that he wrote include Indian Reservation (a hit for Don Fardon in 1968 and for Paul Revere & the Raiders in 1971), Ebony Eyes (a 1961 hit for the Ebony Brothers), Then You Can Tell Me Goodbye (a hit for the Casinos in 1967 and Eddy Arnold in 1968), Abilene (a 1963 hit for George Hamilton IV), Talk Back Trembling Lips (a 1963 hit for Ernest Ashworth), Waterloo (a 1959 hit for Stonewall Jackson), I Wanna Live (a 1968 hit for Glen Campbell) and Bad News (which Johnny Cash recorded on his 1964 album, I Walk the Line).
Afterwards is Ernest Ashworth with When I Sing for Him.
Today's musical selection ends with The Sons of the Pioneers with their 1947 recording of The Old Rugged Cross.
Now for a message from the Reverend Billy Graham.
Now for the 8th chapter of the Buck Jones movie serial, The Red Rider (1934).
Be strong and courageous. Do not fear or be in dread of them, for it is the Lord your God who goes with you. He will not leave you or forsake you. Deuteronomy 31:6
Fear not, for I am with you; be not dismayed, for I am your God; I will strengthen you, I will help you, I will uphold you with my righteous right hand. Isaiah 41:10
But you, Lord, are a shield around me, my glory, the One who lifts my head high. I call out to the Lord, and he answers me from his holy mountain. Psalm 3:3-4
Weeping may stay for the night, but rejoicing comes in the morning. Psalm 30:5
I have set the Lord always before me. Because he is at my right hand, I will not be shaken. Psalm 16:8
But he said to me, "My grace is sufficient for you, for my power is made perfect in weakness." Therefore, I will boast all the more gladly about my weaknesses, so that Christ’s power may rest on me. 2 Corinthians 12:9
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 starts off with Bugs Bunny in Prince Violent (1961). This film would later be renamed, Prince Varmint for TV airings, because I guess seeing the word violent written out would make kids want to be violent.
Now for the Fleischer screen song cartoon, Down Among the Sugar Cane (1932). The title song was originally published in 1908 and was written by Dan Avery, Chas. Hart, Cecil Mack and Chris Smith. Cecil Mack and Chris Smith wrote multiple songs together including You're in the Right Church but the Wrong Pew, It's Hard to Love Somebody (Who's Loving Somebody Else) and He's a Cousin of Mine. Singing the song is Lillian Roth, whose movie career included such films as The Love Parade (1929), The Vagabond King (1930), Madame Satan (1930) and Animal Crackers (1930, with the Marx Brothers).
Next is the Aesop's Sound Fables cartoon, Singing Saps (1930). In 1931 Walt Disney would take the Van Beuren studio to court because two of their mice characters too greatly resembled Mickey and Minnie Mouse. The characters in this film bare more than a passing resemblance to the Disney characters.
Now we join the man (or the mouse) himself, Mickey Mouse in Galloping Gaucho (1928). This was the second Mickey Mouse cartoon ever made (it was preceded by Plane Crazy (1928)). After completing the first Mickey Mouse cartoon, Walt and Roy Disney were trying to sell their new cartoon series to major studios. At the same time, work on the mouse's second film quickly went underway. Since Walt had completed the Oswald the Lucky Rabbit cartoons, he was contractually obligated to make before setting off on his own, unlike Plane Crazy, The Galloping Gaucho was no longer made under a veil of secrecy. Because of this rather than animating the whole film by himself (as he had done with Plane Crazy, Ub Iwerks (the head Disney animator at the time and co-creator of Mickey Mouse) was now working with other Disney animators such as Les Clark, Johnny Cannon and Wilfred Jackson. Historians J.B. Kaufman and David Gerstein commented (in this must own book on Mickey Mouse) that this cartoon shows the influence silent era action Douglas Fairbanks had on the animated mouse. They also pointed out that Fairbanks had even starred in a movie called The Gaucho (1927) and this cartoon was both a tribute to and a parody of that film. These first two Mickey Mouse cartoons were originally made as silent films. However, after the success of Steamboat Willie (1928), as a sound cartoon, these films were issued to theaters with new musical scores by Carl Stalling (who is probably best known for his work on Looney Tunes and Merrie Melodies).
Now it is time for a commercial break.
Next comes one of the most famous and important of Disney's Silly Symphonies cartoons, Flowers and Trees (1932). This film was the first Silly Symphony in color, and it is obvious that even from this first attempt the Disney cartoons had a mastery of color in a way few films would ever reach. Walt knew that color was not just a novelty or a way to make films look pretty but could be a vital part of storytelling. The colors in these cartoons often added to mood of the scene in a way an audience can feel. Walt was alone in believing Technicolor would help boost the quality of his cartoons and many tried to talk him out of it but as was always true of Walt, he stuck with his instinct, and it paid off. The short received much praise (including an academy award) and it still remains a great cartoon to this day. Walt signed a contract with Technicolor for three years, giving them exclusive right to the process in the field of animation. This is why some of the other studios would soon use less famous and less effective color processes for their cartoons of this period. The cartoon itself was directed by Burt Gillett, who would soon direct the most famous Silly Symphony, The Three Little Pigs (1933). J.B. Kaufman and Russell Merritt's book, Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series states, "David Hand animated most of the film, partly by himself and partly with apprentices." David Hand would later be supervising director on the Disney features, Snow White and the Seven Dwarfs (1937) and Bambi (1942). The following is a short article from The Film Daily (dated Sept. 17, 1932), "As a result of the tremendous reception at the Grauman's Chinese in Los Angles and the Roxy in New York of the first Silly Symphony, in natural color, Walt Disney, its creator says all the Symphonies released this year by United Artists will be done in Technicolor and that later the Mickey Mouse may also be photographed in natural color. The first Silly Symphony in Technicolor 'Flowers and Trees,' was in the nature of a feeler. It was made to touch [sic] out the public reaction to color in an animated short feature. After the first showing in Hollywood, in conjunction with MGM's 'Strange Interlude,' Disney had decided that he hit upon one of his most popular moves. Sid Grauman also was highly enthusiastic about 'Flowers and Trees.' The same thing happened at the Roxy. And now the second Silly, 'King Neptune' will have its premiere at the opening of 'Mr. Robinson Crusoe,' Douglas Fairbanks new feature, at the Rivoli next Wednesday."
Now for the Pink Panther in Forty Pink Winks (1975).
Next is the silent Fleischer Brothers cartoon Koko on the Run (1925).
Today's cartoon selection ends with The Simpsons in Bart's Hiccups (1988). This was one of the shorts made for The Tracey Ullman Show before the animated family got their own TV show.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman.
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
