City That Never Sleeps (1953)

City That Never Sleeps

I could make a big man out of you. Disillusioned Chicago cop Johnny Kelly (Gig Young) wants to quit the force and make a new life with strip tclub performer Sally ‘Angel Face’ Connors (Mala Powers), leaving wife Kathy (Paula Raymond) who tells her father-in-law, Sgt. John Kelly Senior (Otto Hulett) she suspects Johnny might be planning on leaving the Chicago PD and believes he can’t stand being outearned by her. Johnny meets big wheel corrupt DA Penrod Biddel (Edward Arnold) who blackmails him into transporting former magician now thief Hayes Stewart (William Talman) after a setup later that night across state lines into Indiana because Johnny’s little brother Stubby (Ron Hagerthy) a former bellboy is now involved in his rackets. What Biddel doesn’t know is that his wife Lydia  (Marie Windsor) and Stewart are having an affair and he is being set up instead with Stubby being used as his accomplice in that night’s theft. When John Sr takes Johnny’s call he ends up getting caught in the crossfire …. What he needs is a lesson in ethics. An awesome cult item full of bruised poetry, astonishing camera setups by John (Psycho) Russell, surprising plot twists and pleasurable performances. There are self-conscious references to The Blue Angel; a voiceover out of Dragnet from Chill Wills, Young’s insightful partner for the evening; and Young’s own ‘sour’ character tipping into masochism and creating a bristling set of disarming consequences for all concerned. The screenplay by Steve Fisher has the tropes of a police procedural but it reaches into the gutter and exposes the viscera of desire in the most amazing ways with a Mechanical Man (Wally Cassell) bearing witness to murder from a nightclub window and a chase to the death along the Chicago El. What a film! Directed by John Auer. Restored by Martin Scorsese and shown by that invaluable channel, Talking Pictures. You are sick inside Johnny. Something inside you is all fouled up

The Beach House (2019) (TVM)

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The beach house is not so much a place as a state of mind. Caretta (Minka Kelly) is a successful copywriter at a Chicago advertising firm but when she loses her job to her colleague and boyfriend she returns to South Carolina to Primrose Cottage, the beach house holiday home she thought she’d left behind.  She has rejected her Southern roots having left 15 years earlier, never wishing to go back until her mother Lovie (Andie McDowell) lures her there for a week in the summer. Lovie has taken in a young woman Toy (Makenzie Vega) whose family has thrown her out due to an unplanned pregnancy. Toy’s presence makes Caretta bristle with jealousy.  Flo (Donna Biscoe) helps out with the house and along with Lovie assists other locals to rescue wild loggerhead turtles during their spawning cycle but Caretta feigns disinterest in the area and the environment. She has not inherited her mother’s love of the place.  It is the only place I have ever felt like myself, says Lovie. It is my home. As Caretta helps repair the shabby house she renews acquaintance with an old boyfriend Brett Beauchamps (Chad Michael Murray) who has built up his boating business and never wants to leave.  Secrets soon start to emerge, starting with brother Palmer (Donny Boaz) who lives in the family home two hours away with his wife and children and who only sees dollar signs at the beach house which Lovie discovers he has mortgaged behind her back after leaving him to handle her finances. He has inherited far too much of his late father’s character and the brother and sister’s sibling rivalry reappears.  Eventually the rhythms of the island open Caretta’s heart in wonderful ways but she discovers that her mother has only one summer left to live and just prior to her unhappy marriage had a relationship of true love that could yet yield a welcome outcome … This may come as a surprise but not everyone wants to spend their day staking turtle rods. Executive produced by Andie McDowell, this adaptation by Maria Nation of Mary Alice Monroe’s almost literal fish out of water 2002 novel is so gorgeous that you may find yourself actively contemplating a picturesque death by the seaside, and not for the first time, when you consider that it is basically the adopted daughter of Beaches. Beautifully shot (by Peter Wunstorf), paced and performed, it’s skilfully handled by storied editor/writer/director/producer Roger Spottiswoode.  Lovely entertainment for a September Sunday. I’m still me, aren’t I?

A Bad Moms Christmas (2017)

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I can’t do this shit sober. Under-appreciated and overburdened suburban moms Amy (Mila Kunis), Kiki (Kristen Bell) and Carla (Kathryn Hahn) rebel against the challenges and expectations of the biggest day of the year: Christmas. As if creating the perfect holiday for their families isn’t hard enough, they’ll have to do it while hosting and entertaining their own respective mothers (Christine Baranski, Cheryl Hines and Susan Sarandon) when they come to visit early, unwanted and uninvited, thwarting all the ladies’ plans for a laidback break from all of this as they start redecorating, competing and bitching about their useless daughters …  Please God no more pussies. The ladies are back – with a vengeance. And their moms are here too, bringing a psycho(logical) dimension to the antics which are more scatological, bittersweet and episodic this time round as the mother-daughter dynamics are explored in their varying levels of possessiveness, competitiveness and sluttiness. It’s not particularly focused and falls between the three stools of the individual dramas but the cast are excellent. Instead of a PTA election we have a carolling competition; instead of a celebrity cameo from Martha Stewart we have Kenny G the godfather of soulful jazz, as Baranski intones; and Wanda Sykes makes a welcome return as the seen-it-all therapist. Other than the innuendo and the work-related seasonal sexploitation (courtesy of the very picturesque Justin Hartley), it’s fairly anodyne entertainment but a spinoff with the Bad Grandmas seems likely courtesy of some very shrewd casting.  Written and directed again by Jon Lucas & Scott Moore. You shouldn’t have to see your mom kiss your boyfriend’s nipples

 

 

From Jon Lucas and Scott Moore.

My Reputation (1946)

My Reputation

You have to start being yourself. Jessica Drummond (Barbara Stanwyck) is a newly widowed upper class mother to two boys Kim (Scotty Beckett) and Keith (Bobby Cooper) with a domineering mother (Lucile Watson). Her estate lawyer Frank Everett (Warner Anderson) dates her casually while her society friend George Van Orman (Jerome Cowan) decides she’d be the ideal mistress. Her friend Ginna (Eve Arden) whisks her away to Tahoe with her husband Cary (John Ridgely) where she meets Major Scott Landis (George Brent) when she’s lost skiing in the mountains. They become close very quickly part badly when he thinks she’s ready to be kissed but then he shows up in her hometown of Chicago where he’s temporarily stationed and she finally allows herself to think of another romantic relationship despite the gossips… The world allows considerable liberty to wives it has never allowed to widows. I notice, for instance, you’re no longer wearing black. One of Stanwyck’s greatest roles, she excels as the rather innocent widow who finally embarks on a relationship with a bluff man who won’t stand for any nonsense from the naysayers in her midst. And who better than Gorgeous George to save her from social suffocation?! Watson is great as the vicious old bat of a mother and Leona Maricle and Nancy Evans are good as the bitchy so-called friends. Arden is in good form as the real friend who does the necessary when Jess needs it. Expertly adapted by the estimable Catherine Turney from Claire Jaynes’ wartime novel Instruct My Sorrows, this plays to all of Warner Brothers’ strengths in female transformation stories – a woman who finds herself again despite a domineering mother, problem sons, pawsy males, social exile and doubt. A gloriously romantic drama with a wondrous score by Max Steiner. Directed by Curtis Bernhardt. I’ll never be lonely again

Widows (2018)

Widows

The best thing we have going for us is being who we are… no one thinks we have the balls to pull this off.  When Harry Rawlings (Liam Neeson) and his crew of criminals are engulfed in flames during a botched job in Chicago, Harry’s wife, Veronica (Viola Davis) finds herself owing hustler-turned-politician Jamal Manning (Brian Tyree Henry) a couple of million dollars. Armed only with a notebook in which Harry detailed his past and future plans, Veronica teams up with the gang’s other widows – Linda (Michelle Rodriquez), Alice (Elizabeth Debicki) and single mom Belle (Cynthia Erivo) to mount a robbery her husband was planning that could clear their debt and give them a new start. Meanwhile, an increasingly brutal election battle featuring Irish-American career politician Jack Mulligan (Colin Farrell) and his father Tom (Robert Duvall) emphasises the social problems of Chicago, raising the stakes for this ramshackle group’s first foray into crime…  I’m the only thing standing between you and a bullet in the head. Steve McQueen won the Academy Award for 12 Years a Slave, a relentlessly gruesome account of black American history, an astonishing achievement for a British visual artist never mind a black director. His genre impetus has hardly been on anyone’s radar but he was a fan of Lynda La Plante’s feisty women from the 1983 British TV series (set in London) and brings a lot of artistry to this slick feminist outing concerning itself as much with issues of poverty, domestic abuse and childcare as the unlikeliness of a heist led by women trying to pay back their criminal husbands’ debts following the conflagration that killed the men in a botched heist.  The backdrop which exists in the narrative courtesy of Farrell’s role is given huge expressivity through Sean Bobbitt’s widescreen camerawork, the issues of money and race and class and the sewer of Chicago politicking right there for all to see but of course that deflects from the main story even as it serves to amplify a theme of difficult intergenerational relationships.  This detailed texture is an expansive approach in an established genre which usually has a narrow focus but if ultimately it doesn’t fully engage in the manner which you’d wish, it’s probably due to the underwhelming adaptation by McQueen and Gillian (Gone Girl) Flynn which doesn’t give the principals a lot to work with – a shame in the case of Davis, who works at it and has some great scenes with Neeson. Debicki comes off best because she has a character who goes through real development and lots of emotions as the narrative progresses – from abuse by mother and husband, through sugar baby, to independence. Good, but should have been a lot better, especially with that twist 75 minutes in. Criminals and cops are the same. They never bring their shit home

The Kremlin Letter (1970)

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You’re a fool.  What’s worse, you’re a romantic fool. When an unauthorised letter is sent to Moscow alleging the U.S. government’s willingness to help Russia attack Red China, US Navy Intelligence Officer Charles Rone (Patrick O’Neal) has his commission revoked so he can do an extra-governmental espionage mission.  He’s speaks eight languages fluently and has a flawless photographic memory. He and his team are sent to retrieve the letter, going undercover and successfully reaching out to Erika (Bibi Andersson), the wife of a former agent now married to the head of Russia’s secret police, Kosnov (Max von Sydow). Their plans are interrupted, however, when their Moscow hideout is raided by cunning politician Bresnavitch (Orson Welles) and Rone finds himself being played by a network of older spies seeking revenge .My father says bed is integral to this and one must be good at it. Adapted by director John Huston with his regular collaborator Gladys Hill (who began as dialogue director on Welles’ The Stranger) from Noel Behn’s 1966 novel, this complex canvas of betrayal, treason, murder and double cross is in a line with Huston’s film noir period with a soupçon of Beat the Devil‘s absurdism. Its convoluted plot is best appreciated in response to the hijinks of Bond with its determinedly low-key approach allowing the banal thuggery of the spy master to be revealed. The cast is astonishing – Richard Boone as Ward, the peroxide instigator capable of literally anything, sadism, torture and murder;  two Bergman alumni united in transcontinental jiggery pokery; George Sanders playing piano in drag at a gay nightclub and worse, with a penchant for knitting; Barbara Parkins as Niall MacGinnis’ safe-cracking daughter; Vonetta McGee as a Lesbian seductress;  Nigel Green as The Whore, another old spy keen on playing dress up; Lila Kedrova as a Russian brothel keeper;  and Welles’ Gate Theatre mentor Micheál MacLiammóir shows up – in fact he’s the first character we encounter. A crazy cast in a fascinating Cold War timepiece that requires keen attention. Even so, it’s a stretch to have dour O’Neal pose as a gigolo to win Andersson’s affections. Still, Ted Scaife’s cinematography is a thing of beauty. Never mind the story, feel the wit. Huston appears early as the Admiral who gives Rone his marching papers. If you believe in a cause no danger is frightening

The Eyes of Orson Welles (2018)

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You left no autobiography but you left this. Writer and filmmaker Mark Cousins was given access to hundreds of paintings and drawings by Orson Welles and he uses these as a prism to gain entry into how the man’s mind worked and discusses how this level of visual creativity was fused with narrative to create his films. This is an intensely personal work:  Cousins addresses Welles in the voiceover, doing away with any sense of chronology, making a mosaic of thoughts, inflections, inferences and putting together a narrative that deals with his films, his politics, his acting, his working methods and his extensive romantic life. This is filmic storytelling of a superior type, stressing the way in which Welles’ designs actively structured his cinematic approach, garnering detailed insights from these previously undiscovered and unsung artistic outpourings to make an intimate free-associating portrait of a fascinating man. This is an utterly unique take on a larger than life character whose indelible performances as an actor (with their king or king-like personae) form a parallel or diptych with his directing work. Welles has never seemed more attractive, more interesting, more Shakespearean in scope, more mysterious and dreamlike or yet more relevant. A seer. Featuring his daughter Beatrice Welles, this is executive produced by Michael Moore. You thought in lines and shapes

A League of Their Own (1992)

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Every girl in this league is going to be a lady. In 1988 Dottie Hinson (Lynn Cartwright) is persuaded by her daughter to attend an event at the Baseball Hall of Fame commemorating the women’s league established during World War 2, when her husband had gone to fight and she was left looking after the farm with her younger sister. This prompts a flashback to the day a scout (Jon Lovitz)came calling and lured them into professional sport after candy bar mogul and Cubs owner Walter Harvey (Garry Marshall) decides to set up a new event with women athletes when the Major League games might be shut down for years. Dottie (Geena Davis) isn’t too keen despite being a great catcher.  But her younger sister and pitcher Kitty (Lori Petty) wants to make something of her life and they go together to try out at Harvey Field in Chicago and join a crew of other women doing something new:   a pair of New Yorkers, taxi dancer  ‘All the Way’ Mae Mordabito (Madonna) and her best friend, bouncer Doris Murphy (Rosie O’Donnell);  soft-spoken right fielder Evelyn Gardner (Bitty Schram); illiterate, shy left fielder Shirley Baker (Ann Cusack); pitcher/shortstop and former Miss Georgia beauty queen Ellen Sue Gotlander (Freddie Simpson); gentle left field/relief pitcher Betty “Spaghetti” Horn (Tracy Reiner); homely second baseman Marla Hooch (Megan Cavanagh), first baseman Helen Haley (Anne Ramsay); and Saskatchewan native Alice ‘Skeeter’ Gaspers (Renee Colman). They and eight others are selected to form the Rockford Peaches, coached by Jimmy Dugan (Tom Hanks) a former player and a drunk who wasted the last five years in a bottle and is only doing this for the money. But some of the women actually want to win even as their internal team rivalries threaten their potential … I have seen enough to know I have seen too much. What a great line! That’s one of the commentators on a high point of a game late in this marvellous film, which in its pitch (yes!) perfectly catches (yes, again!) the hopes, fears and achievements of the All- American Girls Professional Baseball League, a sporting institution established when the men went off to fight. From a story by Kelly Candaele and Kim Wilson, Lowell Ganz & Babaloo Mandel craft a screenplay that is characterful, witty, broad and specific, with each player given an arc to play beyond what’s on the field.  Davis is superb as the charismatic woman whose younger sister only sees a rival who has blocked her throughout her life and Hanks gives a perfect comic performance as the guy who finally touches base once again with his inner competitor when he needs to persuade others of their worth.  Moving and funny in turn, and a brilliant tribute to a little-known period in sport, this is a superb entertainment, proving director Penny Marshall’s hit with Big was no fluke. She was inspired to make this after seeing a 1987 documentary and she set the project in motion. What a gal. The credits sequence rounds it out with one of Madonna’s best songs (This Used to be My Playground) over a game with the older women and some inspiring photographs. Ladies, it’s been a thin slice of heaven

 

 

Rampage (2018)

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What are you, some kind of international man of mystery? Primatologist Davis Okoye (Dwayne Johnson) a man who keeps people at a distance but shares an unshakable bond with George, the extraordinarily intelligent, incredibly rare albino silverback gorilla who has been in his care since he rescued the young orphan from poachers in Africa. They joke in sign language. A rogue genetic experiment gone awry in outer space with the deadly pathogen falling into wildlife parks in California and Florida and mutate this gentle ape into a raging creature of enormous size. There are other similarly altered animals – starting with a grey wolf who takes out the soldiers sent to kill him. As these newly created alpha predators tear across North America, communicating via sonar and destroying everything in their path, Okoye teams with discredited geneticist Kate Caldwell (Naomie Harris) to secure an antidote, fighting his way through an ever-changing battlefield to halt imminent catastrophe commencing among the skyscrapers of Chicago.  Luckily his training in Special Forces gives him the ability to confront the dangers they face but he must also save the now fearsome creature that was once his friend….. Of course – a wolf that can fly!  Or, gorilla goes ape, in this interspecies mutant/hybrid cross between King Kong and Godzilla only it’s neither as serious nor as silly as those classics. The third collaboration between Johnson and director Brad Peyton (which presumably qualifies as a kind of auteurist effort) this starts in a space station with a giant rat, an explosive scene sequence which used up a lot of the FX budget and shards of an exploded rocket with this dangerous pathogen wind up all over the shop, as you do. Hence the shonky CGI mayhem. Jeffrey Dean Morgan turns up as a good ol’ boy Other Government Agent (I always knew they existed) and after their plane is wrecked by a growing George, he and the big friendly giant (The Rock) and Harris go after the brother and sister gene manipulator team (Malin Akerman and Jake Lacy) responsible for this lunatic experiment. Adapted from an Eighties video game, by Ryan Engle and Carlton Cuse & Ryan J. Condal and Adam Sztykiel, this is never quite as fun as it should be but you might just shed a tear from that rheumy worldweary eye at the fight to the death. If animals hate you they eat you. You always know where you stand