Movie Review: Cairo Station (1958)


Title: Cairo Station
Release Date: July 1,  1958
Director: Youssef Chahine
Production Company: Al-Ahramm Studios
Summary/Review:

Cairo Station was produced just a few years after the overthrow of the Egyptian monarchy and the birth of the Egyptian republic and captures the nation at a time of great social change and modernization. The film’s frank depiction of the lives of the working class and sexuality would not be possible even a few years later when government censorship became more restrictive. Director Youssef Chahine took inspiration from Italian neorealism and film noir, and I also see flashes of French New Wave and a Hitchcock thriller as well. Indeed, Chahine’s performance as Qinawi presages Anthony Perkins in Psycho two years later.

Set in Cairo’s main railway station, the film focuses on the everyday lives of the people who work their, including the vivacious soft drink vendor Hannuma (Hind Rostom), the union-organizing porter Abu Siri (Farid Shawqi), and the kindly newspaper seller Madbouli (Hassan el Baroud). When the shy and physically disabled Qinawi arrives from the countryside Madbouli gives him a job selling papers. Qinawi becomes obsesses with Hannuma and immediately proposes marriage. Hannuma casually rejects him since she plans to marry Abu Siri. Qinawi’s obsession then turns murderous.

I”ve seen a lot of reviews that refer to Qinawi by the modern term “incel,” which is an apt shortcut to describing the toxic masculinity and violence against women depicted in this film.  While the Hitchcockian final act is a tense thriller, one should not overlook that the early parts of this film are a sympathetic look at the quotidian lives of the working class.  There’s even space for joy as in a vibrant scene where Hannuma dances to the music of a band of buskers in a rail car, which is beautifully filmed. Cairo Station is definitely a film worth checking out.

Rating: ****

Scary Movie Review: Carnival of Souls (1962)


Title: Carnival of Souls
Release Date: September 26, 1962
Director: Herk Harvey
Production Company: Harcourt Productions
Summary/Review:

This movie begins in media res, three young women in a car at a stoplight are challenged to a drag race by young men in another car.  In the course of the contest, the men’s car pushes the women’s car over a bridge.  In the midst of the efforts to pull the car out of the deep, muddy river, one of the women, Mary Henry (Candace Hilligoss), emerges from the water.  She seems unharmed but also unaffected by the crash.

A few days later, Mary drives to Utah where she takes a job as a church organist and lives in a rooming house.  She finds herself haunted by the vision of a corpselike man (director Herk Harvey) wherever she goes.  Mary is also inexplicably drawn to an abandoned pavilion on shore of Great Salt Lake that was once used for a carnival.  In addition to supernatural torments, Mary also has to deal with persistent come-ons from the creepy John Linden (Sidney Berger), a fellow boarder.

The movie oozes atmosphere as Mary deals with the increasing mystery and terror of her life.  The film feels a lot like a Twilight Zone episode and its style influenced directors such as George Romero and David Lynch.  One thing for sure is I’ll never hear church organ music the same way again.

Rating: ****

Scary Movie Review: They Live (1988)


Title: They Live
Release Date: November 4, 1988
Director: John Carpenter
Production Company:Alive Films | Larry Franco Productions
Summary/Review:

A decade after Halloween, John Carpenter made this even movie that feels even more low-budget.  But I guess he wasn’t going to get a lot of money to make this odd satire of Reagan’s America (that somehow feels even more relevant in 2022).

The movie starts off at a comfortable slow pace with no real science fiction or horror elements. Drifter Nada (Roddy Piper doing a half-decent Kurt Russell impersonation) arrives in Los Angeles and finds work at a construction site and a place to stay at a shanty town adjacent to a church. Nada begins to suspect that the people in the church aren’t really running a church but before he can learn any more, the church and the homeless encampment are destroyed by the police.  And honestly this scene is more scary than anything else in the movie because it so real.

Before fleeing the church, Nada takes a box of sunglasses and discovers that they help him see the world as it really is.  Subliminal messages are everywhere telling people to consume, conform, and not question authority.  Furthermore, there are skull-faced aliens living amongst humanity, and getting people to collaborate with them by giving them wealth and power.  Nada instantly becomes a revolutionary.

Now, this movie has a leftist bent that coincides with my own political leanings, but I am uncomfortable with the idea that everything bad in the world is due to aliens.  After all, conservatives have a lot of conspiracy theories blaming socialists, Jewish people, Muslims, LGBTQ people, you name for all that they see wrong in the world.  Meanwhile some Democrats choose to believe that everything the Trump/MAGA types do is personally coordinated by Vladimir Putin. The truth is that there are a lot of assholes in humanity and a lot of assholishness within every human.

The thing that this movie really gets right is that through ignorance, indifference, or manipulation the assholes can get otherwise good people to fight each other.  This is exemplified by the back alley fist fight between Nada and his only friend in L.A. Frank (Keith David) when he tries to get Frank to wear the glasses.  The fight purportedly last six minutes, although it feels longer and gets at the futility of human nature.

Unfortunately, the final act of the movie isn’t as strong as everything that set it up.  Perhaps because it’s more reliant on special effects the cheapness really shows.  But the pacing also picks up and rushes too swiftly toward a resolution that doesn’t make much sense.  I feel like the first hour would’ve made a great pilot for an ongoing TV show.  Nevertheless, the legacy of this movie cannot be denied.  The “OBEY” logos were adopted into Shepard Fairey’s street art, right down to the font, and the oft-quoted line “I have come here to chew bubblegum and kick ass. And I’m all out of bubblegum,” has it’s origin here.

Rating: ***

Scary Movie Review: Don’t Look Now (1973)


Title: Don’t Look Now
Release Date: 16 October 1973
Director: Nicolas Roeg
Production Company: Casey Productions | Eldorado Films
Summary/Review:

The Baxters – Laura (Julie Christie) and John (Donald Sutherland) – are a couple staying in Venice while John works on restoring a historical church for the local bishop (Massimo Serato).  They are grieving the accidental drowning death of their daughter Christine (Sharon Williams) from a few months earlier.  They meet a pair of elderly English sisters, Heather (Hilary Mason) and Wendy (Clelia Matania), and Wendy, who is blind, claims she has “second sight.”  She tells Laura that she can see Christine, describing the girl perfectly, and saying she is happy.  This experience proves cathartic for Laura, but John is more skeptical.  And yet, he begins having visions of his own.  In the background to all of this we learn of a series of murders occurring in Venice.

The movie is adapted from a story by Daphne du Maurier who also had three works adapted by Alfred Hitchcock: Jamaica Inn, Rebecca, and The Birds.  This is the second of Nicholas Roeg’s films I watched after Walkabout. Like that previous film, Don’t Look Now features spectacular editing with jump cuts, flashbacks, and flash forwards that play with time and the viewer’s sense of reality.  He’s also is skilled at creating spectacular shot involving water, glass, mirrors, and other reflective surfaces. For someone inclined to do so, one could pick out a lot of interesting symbolism in those shots.  This movie is also notable for one of the longest and most honest sex scenes in a mainstream film.  It’s strange at how rare it is that cinema depicts sex between loving, married adults (especially anyone older than 30!).

There is a lot to love about this movie from its visual style, the way Venice becomes a character on its own, the strong acting from the leads, and its exploration of grief.  I do have to confess that I was not all impressed by the denouement. The movie oozes with uneasiness and many of the characters feel untrustworthy.  It all feels to be building to something, but when it comes it is so far out of left field that it’s absurd.  Nonetheless, the movie is definitely worth watching for its first 100 minutes and you may end up liking the twist ending more than me.

Rating: ***1/2

Scary Movie Review: Hereditary (2018)


Title: Hereditary
Release Date: June 8, 2018
Director: Ari Aster
Production Company: A24 | PalmStar Media | Finch Entertainment | Windy Hill Pictures
Summary/Review:

Hereditary is not a movie one can really summarize so I’ll keep this short.  Annie Graham’s (Toni Collette, in a brilliant performance) family is not a happy one.  Her husband Steve (Gabriel Byrne) is easygoing but seems helpless when dealing with conflict.  Her 16-year-old son Peter (Alex Wolff) is shy and tries to connect with kids at school by smoking pot. 13-year-old Charlie (Milly Shapiro) appears most troubled of all, with nervous tics and macabre hobbies. The movie establishes a pattern of mental illness and dysfunction in this family exists even in the best of times.

The film begins with the funeral of Annie’s mother (Kathleen Chalfant) who has died after a long descent through dementia.  We learn very quickly that Annie and her mother did not have a good relationship. Shortly into the film, a tragedy strikes the family and things begin to go off the rails.  Annie begins to feel some solace when a new friend from a support group, Joan (Ann Dowd), shows her how to perform a séance to communicate with the dead.  The trouble is, the spirits she reaches are malevolent.

While there is considerable gore in this movie, I feel it’s real scares come from the long, slow building of tension and uneasiness.  In fact, I like the first half of the movie where troubled family relationships are viewed through a horror lense more than the second half when the more supernatural aspects of the story become more apparent.  Regardless, Ari Aster makes just about everything in this movie creepy, even the miniature dioramas that Annie makes of scenes from her life.  Watch this film with the lights on and with good company!

Rating: ***

 

Scary Movie Review: Clearcut (1991)


Title: Clearcut
Release Date: 10 September 1991
Director: Ryszard Bugajski
Production Company: Cinexus Capital Corporation
Summary/Review:

A white lawyer from Toronto, Peter Maguire (Ron Lea), represents an indigenous community in a remote region of an unnamed Canadian province against the logging company that is clearcutting the forests to build a new road.  Peter visits with the tribal leaders on a First Nations reserve, none of whom seem particularly impressed by his promises to make an appeal.  Upon meeting an Indian man named Arthur (Graham Greene), Peter offhandedly suggests the solution is capturing the company’s plant manager and skinning him alive.  Peter is shocked when Arthur abducts him and the plant manager, Bud Rickets (Michael Hogan), and takes them both into the wilderness for several days.

The movie is a psychological standoff between Peter and Arthur, while Arthur also physically tortures Bud.  While there are scenes of graphic violence, they are nowhere near as frequent or intense as I expected.  The horror of this movie is more of a slow burn building of tension.  If I interpret it correctly, the main point of the story is to resolve Peter’s impotence and inaction because the plot resolves when Peter finally takes action.  There are also indications that Arthur may be a mythical trickster figure, Wisakedjak, and that the whole movie could be something Peter sees in a vision. But nothing about this movie is that clearcut (pun fully intended).

Greene is terrific in his role as the menacing antagonist who also makes a lot of sense, and Greene has described this as his favorite part he’s ever played.

Rating: ***1/2

TV Review:  Stranger Things (2022)


TitleStranger Things
Release Dates: 2022
Season: 4
Number of Episodes: 9
Summary/Review:

The supernatural/horror/thriller/drama Stranger Things returns after a three-year (pandemic-delayed) gap with new adventures for a growing team of residents of the fictional town of Hawkins, Indiana.  After diminishing returns in seasons 2 and 3, season 4 feels like a return to form that comes close to greatness of the debut season.  With a large cast of characters, the season is longer in both the number of episodes and the length of individual episodes to tell all their stories, so it can feel sprawling and uneven at times, but I personally feel the more the merrier.

The show reflects a bigger budget and more ambitious scope than previous series lending it a more cinematic feel. It also has more intense gore and horror elements than previous seasons. New cast member Joseph Quinn stars as the season’s breakout character Eddie Munson, leader of the Hellfire Club at Hawkins High School where the nerdy outsiders bond over Dungeons and Dragons’ campaigns.  Sadie Sink returns for her third season as Max Mayfield getting a chance to really develop her character and show off her acting chops.

My review continues below with spoilers, so beware!

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Movie Review: Run Lola Run (1998)


Title: Lola rennt
Release Date: 20 August 1998
Director: Tom Tykwer
Production Company: X-Filme Creative Pool | WDR | Arte
Summary/Review:

In the summer of 1999, everyone was agog over The Blair Witch Project.  So one night I met up with some friends at the cinema, waited in a long line, and when we got to the front learned that all showings of The Blair Witch Project were sold out.  So we ended up seeing a German art film, Run Lola Run, instead. Run Lola Run quickly became one of my all time favorite movies, while I still haven’t seen The Blair Witch Project.

Set in Berlin (and incorporating the city as a character), the movie stars Franka Potente as Lola, a young woman who must find 100,000 Deutschmarks in 20 minutes.  Her doofy boyfriend Manni (Moritz Bleibtreu) is a bagman for a mob boss and lost the bag of money he was supposed to deliver and will meet certain execution if the money is not replaced.  As the title implies, Lola runs through the streets of Berlin trying to find the money, primarily from her estranged father who is a banker (Herbert Knaup).

What makes the movie unique is that the story is told three times with Lola’s split-second decisions affecting the outcome of her story and of the people she comes in contact with.  It’s basically the hip version of Sliding Doors which came out the same year.  People have compared it to a video game where one can start over after dying and keep trying to get it right.  The movie features a lot of innovative camera techniques for the time it was released, although they may seem clichéd after a few decades of overuse. In addition to the great visuals the film is expertly scored to a techno soundtrack on which Potente provides many of the vocals.

The movie is an exercise in efficiency getting across the basic plot points swiftly but still bearing emotional heft.  I’d completely forgotten that the movie also intercuts animation with the live action sequences that makes it a fun touch.  There are probably some deep philosophical issues that can be discussed in regard to this movie.  But I like it just for the pure energy it brings to telling a story about love and fate.

Rating: ****1/2

Movie Review: What Ever Happened to Baby Jane? (1962)


Title: What Ever Happened to Baby Jane?
Release Date: October 31, 1962
Director: Robert Aldrich
Production Company: Seven Arts Productions
Summary/Review:

Got to see this on the big screen thanks to a 60th anniversary re-release last week.

Bette Davis and Joan Crawford were known for playing … um … confrontational characters (and were even more confrontational in real life).  So it makes sense to channel their antipathy for one another into this psychological thriller about a lifelong rivalry between two sisters.  In 1917, we see that Baby Jane Hudson (Julie Allred) is a popular child performer on the vaudeville circuit while her sister Blanche (Gina Gillespie) watches from the wings.  By 1935, their roles are reversed as Blanche (Crawford) is now a Hollywood star who insists that the less talented Jane (Davis) get film parts as part of her contract.

But the story really begins in the present day when the aging sisters now share a decaying house on the outskirts of Los Angeles.  Blanche is unable to walk due to a car crash that broke her spine and Jane reluctantly cares for her.  A revival of Blanche’s old movies on tv seems to be the last straw for Jane who essentially imprisons her sister while she goes about trying to revive her childhood singing career.  There’s nothing quite as unsettling as Bette Davis with caked on makeup, greasy hair curls, and a babydoll dress singing songs about “Daddy.” But Blanche has her dark secrets as well.

David Lynch was only a teenager when this movie was released but it is nevertheless a very Lynchian film in nature.  Davis is great in her monstrous performance and Crawford has a more subtle role where she seems to wallow in her suffering.  It’s also brilliantly meta that this movie deals with the theme of women in entertainment being disposable once they reach a certain age and stars two women whose Hollywood careers seemed to be in the past. What Ever Happened to Baby Jane? actually revived their careers which seems like a just reward.

Rating: ****

Movie Review: Top Secret! (1984)


Title: Top Secret! 
Release Date: June 22, 1984
Director: Jim Abrahams, David Zucker, and Jerry Zucker
Production Company: Paramount Pictures
Summary/Review:

The team of Zucker, Abrahams, Zucker followed up their hit Airplane! with this comedy that turned out to be a flop.  It’s a bit unfortunate because I feel that in some ways it is better than Airplane! While the previous movie was a straightforward disaster movie spoof, Top Secret! is a more esoteric parody of Cold War spy thrillers and Elvis Presley musicals that evolves into a strange pastiche of World War II resistance movies.

Val Kilmer makes his film debut as American rock star Nick Rivers who is invited to perform at a cultural festival in East Germany.  He ends up caught up in the attempts of resistance member Hillary Flammond (Lucy Gutteridge, who appears to mostly work in British theatre and tv) to escape the authorities.  Hijinks ensue. There are a lot of great gags, but among them the opening song “Skeet Surfin'” and the Swedish bookstore scene are absolute classics of the genre.  At the more lowbrow end, there are a lot of jokes about breasts and penises.

This was not the type of movie Kilmer wanted to make, but nevertheless puts his all into the role making him the perfect straight man for all the nonsense.  Veteran actors Omar Sharif, Peter Cushing, and Michael Gough all appear in small but memorable roles.  And the rock and roll parody songs are all pretty hilarious. Plus there’s always something going on in the background that’s worth watching.

I put Top Secret! on my 250 favorite movies list earlier this year.  If I revised the list now, it might not make the cut, but it’s wouldn’t be too far off.

Rating: ****