Powell plays Bill Foster, a slick defense lawyer so well-respected in the underworld that when his car’s stolen, the crooks return it after getting a look at the registration. Continue reading...
Howard Hawks’s first sound picture. Barthelmess plays a cynical World War I pilot at odds with commanding officer Hamilton. When orders send Hamilton to a different outfit, Barthelmess assumes Hamilton’s position and struggles under the burden of command.
Hawks bursts into the sound era with terrific (for the time) dialog, dynamic aerial photography (love the POV bomb shots), and the burgeoning Hawksian theme of men enduring grim fates as a duty. Remade eight years later with Errol Flynn in Barthelmess’s role.
Perhaps the first of Ford’s early sound pictures that rated his full attention. After an accidental collision, an American submarine drifts toward the ocean floor. MacKenna plays a disgraced British officer serving under an assumed name on the sinking sub. When the sub’s commander succumbs to stress, MacKenna assumes command and reveals his true identity. The lighthearted opening belies the transition to taunt drama. Though the surviving prints are a mix of dialog and title cards, Ford’s confident execution shines through. John Wayne appears as a radio operator on the surface.
A botched jewel robbery lands gangster Lowe in court. Up for re-election, the judge seizes the publicity opportunity and sentences Lowe to fight in World War I. In France, he plays baseball, sees some action, and returns a war hero. Back in New York, Lowe opens a nightclub, falls for socialite Owen, and crosses his former gang. The mix of comedy, wartime drama, and gangster film never gels, but Ford’s formal execution—love the final shootout—makes it passable. Look fast for Ward Bond as a drill sergeant.
A great voice-cast and some Dr. Seuess-inspired production design wasted in service of a story about cultural appropriation that ends in a sing-along.
Better than I expected thanks to Keaton’s MVP performance and the script’s reducing the origin story to a single sentence.
Right in my nihilistic, trap-movie-loving wheelhouse. I bought everything Toni Collette’s all-in performance was selling. Aster’s unwavering commitment and sure-handed execution surprised me. More than once, I dismissed a plot point as lazy writing, only for it to twist and punch me in the gut. And I loved the ending.
John Wayne’s first starring role. He’s good but raw—on par with the poverty-row oaters he’d headline for the next nine years. Here he plays a trapper leading a wagon train up the Oregon Trail. The script includes the requisite character drama and romantic interest. Disregard them. The production itself is the real star. Continue reading...
Quill’s man-child characterization wears thin. Drax remains funny as ever. Baby Groot steals the show.
Peter Cushing’s first film for Hammer. He plays a botanist who hitches a ride aboard Forrest Tucker’s Himalayan expedition to find and study the legendary Yeti. Of course, Tucker’s motives prove less than scientific. And of course, one-by-one the party members meet unfortunate ends. Continue reading...