Fritz the Cat (1972)
“All the stuff to see — and all the kicks, and all the girls — are out there!”
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Slave of the Cannibal God (1978)
“You don’t forget the taste of human flesh!”
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Be forewarned that there’s a particularly nasty, infamous scene in which an enormous python devours a monkey in real-time. In an interview on the DVD, the director (Sergio Martino) claims it was all accidental and they just happened to film the moment, given that they “couldn’t do anything at that point to help” — but a freeze-frame analysis shows that the monkey was shoved into the snake’s mouth. Classy. Redeeming Qualities and Moments:
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Harlan County U.S.A. (1976)
“When I watched him die and suffer like he did with that black lung disease, I knew that something could be done about it. I told myself then, if I ever get the opportunity to get those coal operators, I will.”
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Response to Peary’s Review: Peary’s review is spot-on: this film remains as exciting, informative, distressing, and relevant now as it was 40 years ago, and it’s impossible to forget many of the faces, images, and sequences on display. Kopple may not have intended to make a feminist film, but the grit and fury of these wives and mothers makes it clear that coal-mining is very much a family affair despite its deeply gendered history (no female coal-miners are shown). Thankfully, Criterion Films has not only preserved and digitized this movie but added informative supplements to the DVD, including a “making of” documentary, outtakes, and commentary by Kopple and editor Nancy Baker. John Sayles’ Matewan (1987) was directly influenced by this film, and he appears briefly on the disc as well. Click here to read an update on the ongoing labor realities of Harlan County citizens, who now face closing mines. Redeeming Qualities and Moments:
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Dr. Cyclops (1940)
“Now I can control life — absolutely!”
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Destry Rides Again (1939)
“Every time I mention his name, it’s sort of like I’m talking about a ghost.”
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Christmas Story, A (1983)
“Oh, life is like that: sometimes, at the height of our revelries, when our joy is at its zenith, when all is most right with the world, the most unthinkable disasters descend upon us.”
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Response to Peary’s Review: Peary’s review is spot on: despite being written just three years after the film’s release, he accurately predicts its cult-potential, noting “there’s no reason this unique film should play only in December” — though of course, that’s exactly when most people watch it, again and again and again, as it plays in marathon mode on television throughout Christmas Eve and Christmas Day. Its cult status is somewhat legendary, with numerous websites devoted to it — including an online merchandise store. Clearly, this film hits a nerve for many — perhaps because of how many potent childhood milestones and concerns it covers: menacing bullies, dangerous dares, strict but loving parents, and a lack of agency over gaining one’s most coveted wish. Billingsley is perfectly cast in the lead role: he’s nerdy but no pushover, and, as the oldest child, capable of showing maturity most of the time (unlike his younger brother). This film is a treat, and I can’t imagine any film fanatic not enjoying it at least once (if not many more times). Note: In 2012, A Christmas Story was selected by the Library of Congress for preservation in the National Film Registry for being “culturally, historically, or aesthetically significant”. Redeeming Qualities and Moments:
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Born Yesterday (1950)
“A world full of ignorant people is too dangerous to live in.”
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Response to Peary’s Review: I think Peary undersells this film. Sure, its theatrical roots are apparent, but Cukor nicely opens up the set, and Holden’s choice to provide civics-lesson field trips in D.C. doesn’t seem too far-fetched to me; gaining insights into your own challenges and blind-spots is sometimes easiest through “safe”, external topics. Holliday’s consciousness-raising comes across as both realistic and witty, and Kanin and Cukor’s decision to leaven Crawford’s sociopathic bully with humor is a smart one: sadly, he’s highly believable, and deserves to have plenty of fun poked at him while he gets his come-uppance. I like the fact that Cukor and Kanin are brave enough to show Crawford not only psychologically but physically abusing Holliday; her need to leave the relationship is ultimately about her own survival. Kudos should also be given for the relative maturity of the script, with Holliday openly propositioning Holden despite being engaged. Redeeming Qualities and Moments:
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Easy Living (1937)
“You’re a sight for an eyesore!”
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Yearling, The (1946)
“That’s life, Jody: gettin’ and losin’, losin’ and gettin’.”
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Review: Note: This interesting bit of trivia from IMDb is worth sharing:
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Halloween (1978)
“Death has come to your little town, sheriff.”
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Response to Peary’s Review: I’m in agreement with Peary’s review — and I appreciate his intriguing analysis of serial killer “Michael Meyers” (who would return again and again — and again — in most sequels and remakes to come). Peary writes that he doesn’t “think the intriguing Michael is evil, just insane. There’s that six-year-old inside a man’s body, and everything he does — including his murders — is part of a mischievous game.”
He points out that while Michael “could kill his victims quickly… he prefers to hide behind bushes and in closets, peer into windows, scare them, tease them with loud noises” — and, in a notable scene, “before he attacks Soles, he stands in the bedroom doorway with a sheet over his body and glasses on his covered face.”
Meanwhile, “in his never ending struggle with Curtis… he pretends to be dead several times, only to rise and resume his attack” — a decidedly unique take on the “never assume he’s dead” trope of horror movie victims. Redeeming Qualities and Moments:
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(Listed in 1001 Movies You Must See Before You Die) Links: |
