A better version of Age of Ultron that regulates the big-bad to the background to focus on the group dynamics.
Animated quasi-remake of the 1995 live-action original. Lacks the franchise’s imaginative production design and quirky sense-of-humor. Makes up some ground with over-the-top graphic violence and Joel McHale.
Breaks the Marvel formula where heroes acquire their powers at a great personal cost. As Rudd says, he’s expendable.
Powell’s second talkie and first leading role. He plays Philo Vance, a dilettante detective who uses “psychology” to solve the locked-room murder of a notorious showgirl. Continue reading...
John Ford’s first sound picture. Victor McLaglan plays a British Army Captain who decamps for India on a secret mission to infiltrate the forces of Yasmani, a mysterious figure threatening the Crown’s interests. Myrna Loy plays Yasmani, carrying over her silent-era typecasting as an exotic vamp. Continue reading...
With the Infinity Saga done, it’s easier to forgive this entry for what it is: a plot-heavy middle chapter in a larger story that regulates the Ultron character to a McGuffin.
Hitchcock’s first sound picture. A Scotland Yard constable covers for his girlfriend after realizing she’s implicated in a murder. The two then fall afoul of a blackmailer. Hitchcock shot this as a silent then added the sound scenes later and it shows, but his formal mastery is still amazing. Love the rack focus reflection shot in the opening sequence.
Boris Karloff’s first talkie. His contribution comes via a bit part as lead Warner Baxter’s vaguely Arabian manservant. Though billed as a mystery, the film plays as a melodrama. Baxter and Lois Moran play would-be lovers kept apart by Moran’s murderous, philandering husband and the script’s insistence that Moran behave like an impetuous child.