A technically well-made but emotionally distant film.
On paper it seems like this movie about professional fighter Mark Kerr should be your average sports film. However, anyone who has seen the previous films of writer/director Benjamin Safdie, knows that he is not about to deliver such a conventional film. In fact, with this movie, he seems dead set to get as to not fall into any of the typical trappings of sports movies. On a technical level he is quite successful. This movie has a documentary style of filmmaking that works perfectly. Thematically it strips away any of the glitz and glamor attached to the sport and instead focuses in on the brutality and senselessness of two grown adults beating the crap out of each other. This makes for a film that seems real and honest without a hint of superficiality. The documentary style of filmmaking also helps this seem unique among the many different sports movies out there.
However, this movie's major failing is in characterization. I never once felt like I knew who any of these characters actually were. For the most part they are completely devoid of personality. The brief little glimpses we get of what these characters' personalities are makes them seem completely unlikable and selfish. There is not one reason to care about them or what happens to them. This creates an emotionally empty movie. Critics have been praising Dwayne Johnson and Emily Blunt's performances here but there is only so much they can do with the lack of material they are given.
On a technical level this is a very well-made movie, but it is held back greatly by not giving the audience any reason for an emotional connection.
This movie follows the story (based on a true story) of a down on his luck man, whose only great skill is his power of observation. His uses this to rob McDonalds to give his daughter what he always wanted to give her. However, is caught and then escapes from prison. After that he is hiding out in a Toys "R" Us. Likable criminals are often something that is hard for movies to get right. Too often in these movies either the crime makes the character too unlikable, or the crime is played down to point that the premise rings empty. This film however actually finds the right balance. The main character knows that his skill set is perfect for being a criminal, but his downfall is often that he cares too much to be a real successful criminal. This is a great characterization for such a character. It automatically endears him to us while not endorsing what he does. Channing Tatum is extremely charming in the role making the character work perfectly. For a movie with such a premise this is also a surprisingly sweet and good-hearted film. The romance is excellent providing a real heart to this film without even getting too shmaltzy. Channing Tatum and Kirsten Dunst have wonderful chemistry that makes each of these romantic scenes work very well. The scenes between the main character and his love interest's daughters are also incredibly sweet. This movie also has a surprisingly moving ending.
This film does have its flaws though. It can feel tonally uneven at times as the comedy and the drama don't always mix perfectly. Speaking of the comedy, it is fine but never as funny as it wants to be. I also felt that some of the supporting characters can be a little too bland and not feel quite real.
Overall, this is a surprisingly effective movie despite a few flaws.
In this episode the gang is enjoying a meal (and Scooby and Shaggy a hero sandwich), when Scooby spies a zombie with no face. They find out that this zombie stole a valuable coin. When they find the zombie in a toy factory, before you can say "jinkies" the gang has another mystery on their hands.
There is a lot to love about this episode. The zombie is a very fun villain. His design is fantastic, and he has a delightfully creepy feel to him. The humor in this episode is quite great as well. This is actually one of the funniest episodes of this season and some of the gags made me laugh out loud. The slapstick with Scooby and Shaggy is wonderful. A gag involving a toy duplicator and the ending gag is truly hilarious. The lieutenant is a very fun character as well. His skepticism towards everything the gang tells him, makes for a real fun chemistry between the two. It is too bad this is the character's only appearance as I could see him becoming a great reoccurring character.
This episode does have its flaws though. A gorilla finds his way into the act and feels completely out of place. A gorilla and a no-faced zombie are an odd pairing of villains and don't feel like they belong in the same episode. I also felt that (except for a few gags), this episode doesn't really fully utilize the toy factory setting. While this should be a perfect setting for a Scooby mystery, it is lacking in the atmosphere it should have.
Despite a few flaws, this is a fun episode that benefits from some real laugh out loud humor.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with a wonderful version of the classic hymn, How Great Thou Art. In the book, Happy Trails: Our Life Story, Roy tells of a story that had to do with this song. "I'll tell you about one time we nearly got into a real war with the promoters: at the World Championship Rodeo at Madison Square Garden in 1952. During the first rehearsal I started to practice 'How Great Thou Art,' a religious song I wanted to make the centerpiece of our musical act. There's a line in that song that goes, 'Then sings my soul my Savior God to Thee...' Someone in the front office heard the rehearsal and came to me that night to tell me I wasn't allowed to mention Christ at the rodeo. 'It might work for the kids in Houston, Texas' he told me, 'But this is New York. You can't preach to kids here.' I told him I wasn't preaching but that the Savior was a part of the song and I fully intended to sing that song in New York or anywhere else we performed. They suggested that I could change the words of the song so it didn't mention Him. I'm not one for grandstand plays but I told those fellas that if I couldn't sing 'How Great thou Art' just how it was written, Dale and I would pack up and leave town. The song stayed in the show. That year we did forty-three performances over twenty-six days and broke all Madison Square Garden attendance records."
Afterwards is Tammy Wynette with I Believe. This song comes from her 1969 gospel album, Inspiration.
A Singer of Songs in my mind gets down to the essence of Johnny Cash and honestly when I first I found out I was surprised he had not written it. What is interesting is that when interviewed about this recording for the Unearthed Box set, Johnny stated, "Good song but I don't know whose it is." Producer Rick Rubin in comments for the box set stated that he felt this was "one of the most touching and emotional of all the songs." However, he admitted "I have no idea where it came from. I don't even remember recording it." He wondered how he could have possibly missed putting this song on one of the albums he and Johnny did together. Johnny's song John Carter Cash however shed light on where this song came from. "Every once in a while, I'd bring in a song or two - he knows instantly, when he hears a song, whether it will work out for him or not. This was written by Tim O'Connell." This song was recorded during the sessions for Johnny's third album for Rick Rubin, Solitary Man. Johnny was a heart simply a singer and a storyteller and he knew that there was no greater story than that of Jesus Christ.
This is followed by Conway Twitty with Jesus is a Soul Man.
Then comes Brad Paisley with Old Rugged Cross. The song itself dates back to 1913 and was written by evangelist, George Bennard. Actually the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then. This version comes from Brad's 2001 album, Part II.
Next 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.
The music continues with Washington Phillips with his 1928 recording of I Am Born to Preach the Gospel.
Today's musical selection ends with Joey and Rory with Are You Washed In The Blood.
Now for the 11th chapter of the Buck Jones movie serial, The Red Rider (1934).
Now for a message for the reverend Billy Graham.
Psalm 61
For the director of music. With stringed instruments. Of David.
1 Hear my cry, O God;
listen to my prayer.
2 From the ends of the earth I call to you,
I call as my heart grows faint;
lead me to the rock that is higher than I.
3 For you have been my refuge,
a strong tower against the foe.
4 I long to dwell in your tent forever
and take refuge in the shelter of your wings.
5 For you, God, have heard my vows;
you have given me the heritage of those who fear your name.
6 Increase the days of the king’s life,
his years for many generations.
7 May he be enthroned in God’s presence forever;
appoint your love and faithfulness to protect him.
8 Then I will ever sing in praise of your name
and fulfill my vows day after day.
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
In this episode, the gang gets lost on their way to Niagra Falls. The windup spending the night at a mental asylum that is haunted by the ghost of Dr. Coffin.
Everything about this episode is simply wonderful. This is a different type of setting for a Scooby mystery, and that helps give the episode a very unique and effective sense of atmosphere. This sense of atmosphere is helped out by some wonderful background art and some very effective creepy music (I think this episode may have one of the best musical scores for any Scooby mystery ever). There are also some very effective creepy moments here, especially Scooby being hypnotized by the ghost playing the organ and where it looks like dead bodies are being carried out. The ghost of Dr. Coffin is one of the best Scooby ghosts, as he is legitimately creepy in everything from his design to his laugh to how much of a threat, he feels like to our heroes. Adding to the spooky fun is some delightful humor that made me laugh multiple times. Shaggy especially gets some good comedic lines here. The mystery element is especially strong here as the identity of the ghost is not obvious, but it makes perfect sense when it is revealed.
Jame Curtis' biography of Buster Keaton is one of the finest movie star biographies, I have ever read. At over 700 pages, this is a massive read. Yet it never once feels boring or get repetitive. Once more I hated every time I had to put this book down.
This book hooked me from the very beginning. Buster's childhood is an endlessly fascinating subject. He grew up on the stage as part of his parents rough and tumble comedy act becoming the star of the act himself when he was still a little kid. Luckily this book covers Buster's childhood in the most informative and engaging way I have ever read. The stories contained in this portion feel larger than life but are still completely real. Yet this book still continues extremely strong as Buster reaches adulthood. Due to the length of the book, Curtis is able to cover each of Buster's silent films in great detail and with excellent critical commentary, while also giving us a great portrait of his personal life. Even massive Keaton-philes will learn a great deal here and come away with an even greater appreciation of the man and his films. The book continues to give in depth looks at the majority of his talkie films in a very honest way. The book offers many criticisms of his talkie work. As many of you know by the talkie era, Buster no longer had great creative control over the majority of his work, and his talkie work rarely lived up to his silent masterpieces. Yet at the same time the book does not fully dismiss these films, the way other writings on Buster Keaton do. Just because they don't reach the height of his silent work, doesn't mean they can't be fun. And this book is just as quick to praise his talkie work as it is to criticize it, making this the fairest look at these films I have ever read. At the same time this book paints a fascinating picture of Buster as a person. He could be a more complex person than he himself (being a completely unpretentious guy) would have given himself credit for. Curtis captures both his virtues in his flaws making a truly human look at this cinematic giant, who can sometimes seem beyond human to movie lovers. Even when looking at his flaws though, the book remains sympathetic and makes us care for Buster for reasons beyond that he made great films.
Hello, my friends and happy Saturday morning. Once again it is time for some classic cartoons.
The Skelton Dance (1929) was the first of Disney's Silly Symphonies and one of the best. The idea for the series came from musical director Carl Stalling (who would later work on the Looney Tunes and Merrie Melodies). The Silly Symphonies were designed to revolve around music. Walt Disney loved the idea and felt that a second series would allow him to experiment more and not be tied down by the formula of a Mickey Mouse cartoon. The idea for the first film also is believed to have come from Stalling. Stalling would tell historian Michael Barrier about the genesis of the movie stating, "He thought I meant illustrated songs, but I didn’t have that in mind at all. The Skeleton Dance goes way back to my kid days. When I was eight or ten years old, I saw an ad in The American Boy magazine of a dancing skeleton, and I got my dad to give me a quarter so I could send for it. It turned out to be a pasteboard cut-out of a loose-jointed skeleton, slung over a six-foot cord under the arm pits. It would ‘dance’ when kids pulled and jerked at each end of the string. Ever since I was a kid, I had wanted to see real skeletons dancing and had always enjoyed seeing skeleton dancing acts in vaudeville.” Though Carl Stalling would use an excerpt from Edvard Grieg’s March of the Dwarfs, most of the music was an original by Stalling. The animation for the movie was completed in six weeks. The majority of the animation was done by Ub Iwerks, the Disney studio's main animator at the time. He animated some of the earliest Mickey films entirety by himself. On this film he was assisted by Wilfred Jackson and Les Clark. It is not known for sure what Les Clark animated as some sources state he animated the opening scene and others (including his own) state he animated one skeleton playing another's ribs as a xylophone. Wilfred Jackson most likely animated the scene where the rooster crowing (which was reused in The Cat's Nightmare (1931)). When Walt tried to sell this film, it did not go as smoothly as he excepted. Walt's daughter, Diane Disney Miller, would later speak about this, “Father wasn’t easily discouraged. He took The Skeleton Dance to a friend who ran the United Artists Theater in Los Angeles and asked him to look at it. ‘We’re looking at some other things this morning,’ the man said, ‘and I’ll have my assistant look at it. You go with him’. Father sat beside the assistant while the film was run. It was just before the first morning show; a few customers had drifted in and it was obvious they liked The Skeleton Dance but the assistant didn’t listen to them. ‘Can’t recommend it,’ he said. ‘Too gruesome’. Father got a hold of another friend and asked him if he could put him in touch with Fred Miller who managed the Carthay Circle, one of the biggest and most important theaters in town. Father’s friend sent him to a salesman on Film Row. ‘Maybe he can get him to look at your skeleton film’. Father found the salesman in a pool hall shooting a little Kelly (a game played on a standard pool table with sixteen pool balls where each player draws one of fifteen numbered markers called peas or pills at random from a shake bottle which assigns to them the correspondingly numbered pool ball, kept secret from their opponents, but which they must pocket in order to win the game). ‘Leave your picture here, Disney,’ the Kelly player said. ‘I’ll look at it. If I like it, I’ll get in touch with you’. It sounded like a stall but he actually did look at the film. When he looked he said, ‘I think Fred will like this. I’ll take it over to him myself’. As a result, Miller showed The Skeleton Dance with a feature picture he was running. It went over big. Father clipped the local press notices and mailed them to Powers with a note: ‘If you can get this to Roxy (the nickname of Broadway showman Samuel L. Rothafel who ran New York’s prestigious Roxy Theater), he’ll go for it the way Miller did. Powers got a print to Roxy and Roxy liked it. He ran it in his huge New York theater.” This movie premiered at the Carthay Circle on June 10, 1929 alongside F.W. Murnau's feature film, 4 Devils (1929). The Carthay Circle is where later Disney features like Snow White and the Seven Dwarfs (1937) and Fantasia (1940) would make their Hollywood premiers.
Up next is the Fleischer Brothers Screen Songs cartoon, You Try Somebody Else (1932). This short film features an early appearance by Betty Boop. This song was written in 1931 by B.G. De Silva and Lew Brown and has lyrics by Ray Henderson. The song had been recorded by the likes of Kate Smith, Rudy Vallee, Ted Black, Guy Lombardo and Connie Boswell. The trio of songwriters also wrote The Best Things in Life Are Free.
Now for the Terry Toons cartoon, Beaver Trouble (1951).
Now for the Aesop's Sound Fables cartoon, The Mill Pond (1929). This short film features our good friend Farmer Alfalfa. The animation and use of sound may feel crude compared to what Disney was doing at this time, but the cartoon has a kind of unpolished charm because of this. I also love how even if this is a sound cartoon, words for the sound effects as well as the characters giggling appears on the screen like this is still a silent cartoon. Musical notes even come out of the musical instruments.
Now it is time for a commercial break.
Next comes the Coyote and Roadrunner in Coyote Falls (2010). This short film played in theaters with the feature film, Cats and Dogs 2: The Revenge of Kitty Galore (2010). In theaters, this film played in 3-D, making it the first Warner Brothers cartoon in 3-D since Lumber Jack Rabbit (1953). This is the first of 6 theatrically released Looney Tunes cartoons directed by Matthew O'Callaghan. Matthew O'Callaghan also directed the feature films, Curious George (2006) and Open Season 2 (2008) as well as the Disney TV special Sport Goofy in Soccermania (1987). He also created the animated TV series The Itsy Bitsy Spider.
Next comes Felix the Cat in Pedigreedy (1927).
Next is a late Fleischer Studios Popeye short, I'll Never Crow Again (1941). The year after the release of this cartoon Max and Dave Fleischer would find themselves no longer making cartoons for Paramount and many of their employees continuing to make Popeye and Superman shorts for Paramount without them. Many critics of the Popeye series claim that all the cartoons simply feature Popeye and Bluto fighting over Olive. However, this short does not follow this formula in the slightest. The song that Popeye and Olive sing at the beginning of this cartoon is from the first of Fleischer Studio's two feature films, Gulliver's Travels (1939). A review in The Motion Picture Daily called this cartoon, "Good for a few laughs." A review in Showman's Trade Review stated, "While this is not the usual type of Popeye cartoon, the novelty is not sufficient enough to raise it out of the 'fair' class." The following is an exhibitor's review from The Motion Picture Herald, "I'LL NEVER CROW AGAIN: Popeye the Sailor— Popeye Cartoons are always enjoyed, but this was not as good as average. Running time, 7 minutes. —J. M. Thomsen, Center Theatre, Marlette, Mich. Rural patronage."
Today's cartoon selection ends with The Simpsons in The Closet (1988). 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.
