A Scanner Darkly

And once again, I haven’t read the book.  This time I got the strong impression that the book is far better (Elizabeth has it, I’ll probably read it one day).  Too many scenes in the movie were just filler, showing us the stoner culture and drug effects that we’d already seen plenty of.  The time could have been better spent exploring the film’s themes a little deeper.  I didn’t hate it, but it definitely needed more fleshing out.  Linklater reuses his rotoscoping technique from Waking Life, but here I felt it was largely wasted.  It was great when it was necessary (the hallucinations, the morphy suits) but looked odd during the normal parts… for one thing, the faces were too blotchy.  The highlight was probably Robert Downey, Jr., even though his role was largely superfluous.  I haven’t decided yet if he’s a good actor or if he’s just good at being Robert Downey, Jr.  Rating: 6

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All Quiet on the Western Front

This is one of those movies that’s rarely talked about, yet always ends up highly ranked.  I speak (once again) from the disadvantage of not having read the source material, but this is definitely a war (or anti-war) movie that ranks up with the best of them.  There are some amazing camera moves here.  A lot of transitions between interiors and exteriors, and some astonishing tracking shots.  The battle scenes reminded me a lot of Paths of Glory, and I have to believe they were an influence on Kubrick.  It’s a bit jarring at first to see “German” soldiers talking remarkably like Americans, but I think it was probably a smart move in terms of getting an audience to grasp the universality of the story.  The dialogue does get a bit sentimental and hokey at times (and the acting isn’t that great), but on the whole the film is surprisingly gritty for 1930.  Mighty good stuff.  Rating: 9

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Night and the City

I’m finding it hard to say anything about movies lately, which is usually a sure sign that I should take a break for a while.  Too bad I’ve got so many to watch right now.  So, uh… well, I liked this one.  Gripping story of a perpetual loser always trying to score big who gets in way over his head.  The photography was super and I was never bored.  I’m not a big Richard Widmark fan, but Francis Sullivan is always a pleasure.  I think I might make it my mission to watch everything with Francis Sullivan I can get my hands on.  Or maybe not.  I dunno what the hell I’m saying, let’s wrap this up.  Rating: 8

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Sword of the Beast

Excellent samurai drama that offers sharp criticism of the concept of blind loyalty.  Especially notable for its superb score by Toshiaki Tsushima.  The film is fast-paced and exciting, but I did get a little confused at times (I’m still not quite sure who Osen was).  Rating: 8

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La Ciociara (Two Women)

So-so drama of a woman and her 12-year-old daughter in wartime Italy.  Sophia Loren and Jean-Paul Belmondo are good, if slightly on the hammy side.  The narrative is a bit loose, but the anecdotes were interesting enough.  I was actually quite into it until near the end, where this racism comes out of nowhere.  One could argue that it’s not racist (or at least not intentionally so) but I didn’t care for it at all.  Still, I guess it’s worth a watch, but not on the godawful Madacy DVD that’s available. The print quality is equal to the worst of VHS.  Rating: 6

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Monster in a Box (rewatch)

I’ve seen this and Swimming to Cambodia a bunch of times, and I’d have to say this is the weaker of the two (and as long as I’m “ranking” Spalding Gray films, it beats out Terrors of Pleasure and is about equal to Gray’s Anatomy). Gray is a captivating storyteller, but here his material doesn’t have quite so much punch to it.  And I like Laurie Anderson, but where her ominous scoring works well in Cambodia, in this one it’s often just a little too much.  But perhaps I’m nitpicking.  I still enjoy watching this.  Rating: 7

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Crossfire

Nothing to get too excited about.  In attempting to do an issues film (anti-Semitism) disguised as a noir mystery thriller, it sort of does a half-hearted job at both.  The message only gets a couple of quick hints until the end, when it all comes flooding out in a couple of eloquent but preachy speeches.  The most interesting part is the theme of people wandering aimlessly through their post-war lives, but it doesn’t get developed very far.  Robert Mitchum is great, the film could have used more of him.  I don’t care much for Robert Ryan, but I guess he did a pretty good job here.  Rating: 6

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The Flowers of St. Francis

Sometimes two things you don’t like can come together to make something enjoyable.  In this case, Rossellini and religion.  I believe it’s the Fellini input that makes this combo more palatable.  It’s a gentle and amusing recreation of a handful of stories about St. Francis and his followers.  It doesn’t beat you over the head with messages of faith, but rather presents a life of simplicity, kindness and innocence in a way that’s strikingly appealing.  Rossellini brings this world to life in a manner that may not be 100% authentic, but it is very immersive and feels genuine.  Quite lovely.  Rating: 8

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Jigoku

This movie is probably best known for its insane finale in Hell: surreal, gory and daring.  But I actually preferred the build-up, as Shiro’s life gets bleaker and bleaker, and the death and debauchery around him intensifies.  Once he gets to Hell, it’s actually a bit silly.  I might have been more shocked if the effects and makeup weren’t so unconvincing compared to modern techniques.  The Hell sequence does have some pretty amazing stuff, though — the wheel of fire, the tangible sense of despair, and the chaotic jump cuts.  I also loved the final scene, which evoked an odd sensation of comfort and sadness.  Rating: 7

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Sweet Smell of Success

Tony Curtis and Burt Lancaster are phenomenal as a toadying weasel and a Machiavellian manipulator, respectively. The story of two men utterly devoid of morality, and their complete disregard for anyone who would stand in the way of their ambitions. Every moment is fascinating, especially those where Curtis sinks to new depths, and the suggestions of an incestuous relationship between Lancaster and his sister. The Lehman/Odets script is tightly plotted with dialogue as snappy and brisk as anything from Billy Wilder or Howard Hawks. And Howe’s photography is superb, crisp contrast and dramatic angles. I was really knocked off my feet by this one, a truly great film.  Rating: 10

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