Tuesday 10 December 2019

71 ok.ru


Mr. Skitch (1933) - Baffling family camping comedy with Will Rogers.

Here Comes Trouble (1936 - b/w) - Another unfunny chase comedy around a ship from Fox.

Super Sleuth (1937- b/w) - Grating crime-comedy with Jack Oakie.

The House of Fear (1938 - b/w) - Grating Universal crimer.

Next Time I Marry (1938 - B/W) - Fast-paced but unentertaining vehicle for Lucille Ball.

The Man Behind the Mask (1936) - Generic quota quickie involving a masquerade party, by Michael Powell for New Realm.

Flash Gordon Conquers The Universe (1940) - Just a load of period drama outfits in a quarry.

The Crystal Ball (1943 - b/w) -  Generic romcom with  Ray Milland and Paulette Goddard.

Murder He Says (1945 - b/w) - Fred MacMurray lollops about with glowing hillbillies in a silly comedy.

Home Sweet Homicide (1946) - Generic kiddie-aimed suburban comedy with Randolph Scott and young Dean Stockwell that allegedly has a mystery.

The Corpse Came C.O.D. (1947)   - GENERIC CRIME-COMEDY with former Republican George Brent.

Black Narcissus (1947) - It look so beautiful that one forgets the other flaws. Jean Simmons seems to belong to that caste of Indians who only exist in the movies.

Champagne for Caesar (1950 - b/w) - Typical screwball comedy, with Celeste Holm, Ronald Colman and Vincent Price.

Man with A Cloak (1951  - b/w) - Barbara Stanwyck, Leslie Caron and Joseph Cotten in a dry, average period bodice-ripper with a not very exciting twist.

His Kind of Woman (1951- b/w) - A typical jungle-set noir, even though Vincent Price gives good heavy.

No Highway In The Sky (1951 - B/W) -  Routine proto-Airport airbound melodrama with James Stewart, Marlene Dietrich and various Brits.

Thunder in the East (1952 - b/w) - Another artless Alan Ladd potboiler set in a phony India, the only authenticity being a framed photo of Gandhi. Deborah Kerr is the token Brit.

Rough Shoot (1953 - b/w) - Joel McCrea in an unmemorable do over of Rogue Male/ManHunt.

City Beneath the Sea (1953) - Average jungle/sea adventure with Robert Ryan and Anthony Quinn.

The Disembodied (1956 - b/w) - Rubbishy Monogram jungle schlock.

Pulgarcito (1957) - Rene Cardona Mariachi-themed version of Tom Thumb, with a lot of weird Singing Ringing Tree-ish stuff.

Floods of Fear (1958 - b/w) - Fauxmerican floodery melodrama with Howard Keel, and being made in the UK, Irish actors Cyril Cusack and Eddie Byrne as Americans. Plus Harry H. Corbett. It's impossible to take seriously.

Big Deal on Madonna Street (1958 - b/w) - Always imagined this as a tough if darkly comic noir, but it's Gassman, Mastroianni, Cardinale and Toto in a sentimental, light and aimless sub-Ealing heistcom.

The Young Lions (1958) - generic Fox Nazidom.See also The Desert Fox (1951 - b/w).

Intent to Kill (1958 - b/w) - Faux-Canadian hospital melodrama drudgery with Richard Todd and Warren Stevens.

Under Ten Flags (1960 - b/w) - Average WW2 fare with Van Heflin and Charles Laughton faux-British early Macaroni Combat with a decent British cast - Cecil Parker, Liam Redmond (he was born pre-1922, so technically he was British), Ralph Truman.

Zazie Dans Le Metro (1960) - Baffling French zaniness from Louis Malle.

Raymie (1960 - b/w) - A discovery. I've been long looking for this film. David Ladd is immensely more likeable as a kid than as an adult, as a kid who just spends his time fishing and talking to old men. That's the whole film. At least, you don't want him to choke on a load of cocaine eaten like space dust, like in the Wild Geese.

Stopover Forever (1964 - b/w|) - Forgettable 56-minute tropical crime featurette with Ann Bell and Conrad Phillips.

Dead Ringer (1964 - B/W) - A dullish mutton-dressed-as-lamb twin-thriller with Bette Davis, Karl Malden and Peter Lawford, scored by Andrew Preview.

Bílá paní (1965 - b/w) - Czech-alike of the Ghosts of Motley Hall.

Sword of AliBaba (1965) - A remake of the 1944 Maria Montez film, even with scenes from the original. Blonde Jocelyn Lane is a very unconvincing Arab princess.

Trunk to Cairo (1966) - Menahem Golan cashes in on the Eurospy craze with this bland Egypt-set yarn with Audie Murphy for once not at war or in the west.

The Cape Town Affair (1966)  -Claire Trevor and James Brolin and Jacqueline Bisset in an unmemorable, slightly Towers of London-ish African-shot sub-noir. Shonky, almost sub-ITC production values.

Tarzan and the Valley of Gold (1966) - An uneasy mix of Eurospy, lost world adventure and jungle scrapes, though Mike Henry isn't a great actor, his characterisation is less grating than the typical Weissmuller-ish portrayal of a jungle dolt.

Watched the four Matt Helms.Sillier and more outré than the Bonds, they are also annoyingly goofy.
The Silencers (1966) is like all of the series, irritating goofball nonsense with Dean Martin looking like a dad waiting to collect his daughters at the disco.
Murderer's Row (1966) is more of the same. Karl Malden's baddie is fun, but it's so obnoxious.
The Ambushers (1967) pushes it even more into Batman territory, but with sexist bullshit instead of charm, a brutally miscast Albert Salmi as a South American dictator and a flying saucer.
The Wrecking Crew (1968) - Nigel Green is a good baddie, but Elke Sommer is silly, Nancy Kwan looks lost, and the Danish scenery, well, there's Californian road signs, though the brief Downing Street scene looks more authentic than the main bulk of the film.  Poor Sharon Tate.

Little Fauss and Big Halsy (1970) - More New Hollywood eejitry with Robert Redford and Michael J. Pollard.

The Phynx (1970) - A knockoff Monkees are hired as spies to rescue a cast of ageing celebs from Communist Albania. A discovery of the year. Quite Wonka-esque. Somehow not annoying in its silliness, but ambitious. Insane. Features a fake London.

The Projectionist (1971) - It's an acquired taste, but it's winning. Chuck McCann has a goofy charm as the lead, who dreams that he is in various classic films. The merging of original and archive footage is excellently done, that you don't notice that it's not from the 40s until Rodney Dangerfield pops up.

The Short Night of Glass Dolls (1971) - A stylish, imaginative but rather grim and nonsensical giallo, with Jean Sorel, Mario Adorf, Barbara Bach and Ingrid Thulin.

Mrs. Pollifax - Spy (1971) - It's very telly. It's a bit like an episode of Mission: Impossible starring Rosalind Russell, who's basically Auntie Mame here. Harold Gould is the Soviet. Darren McGavin is her CIA sidekick. Batman vet Leslie Martinson directs. If it had a better budget (actual European locations) and a less jokey cast, it might have worked. It's very sitcommy. No one's taking it seriously. The novels later spun-off a TV pilot with Angela Lansbury and Ed Bishop (because it was shot in Galway).

Tresaure Island (1972) - Orson Welles/Harry Alan Towers adap, has the feeling of a foreign kids' TV serial dubbed for CBBC.

La Valise (1973) - Generic French comedy adventure with Mireille Darc, begins with a spaghetti western pastiche.

Ace Eli and Rodger of the Skies (1973) - Watching this schmaltzy father-son air show film with Cliff Robertson and the annoying little lad off Poseidon Adventure, I was struck, "weird how the exteriors in some scenes look like Wicklow". Turns out I was right. So bad Spielberg took his name off.
See also
The Great Waldo Pepper (1975) - It has moments of excitement, Robert Redford is ideally cast, but it glosses over moments of death like a parent trying to pretend a child's beloved relative isn't dead, and it becomes another silent-era Hollywood nostalgiafest that was all the rage in '75.

The Girl from Petrovka (1974) - Touristy but inauthentic Soviet-set romance with Hal Holbrook, Goldie Hawn as a silly-accented ballerina and Anthony Hopkins.

Lords of Flatbush (1974) - Sub-Mean Streets overaged teen gangbang with Perry King, Henry Winkler, Sylvester Stallone and some other bloke.

Stavisky (1974) - Typical French gangster pic with Belmondo, but there is a role from Michael Lonsdale.

Journey into Fear (1975) - Despite Vincent Price AND Ian McShane amongst many others, this is a typical dull Canadian film, even though it is set in Greece.

Out of Season (1975) - Peculiar, boring love triangle between Cliff Robertson and mother and daughter Vanessa Redgrave and a miscast Susan George.

Ode to Billy Joe (1976) - Oh Jesus, another country-song adaptation with Glynnis O'Connor and Robby Benson as two unlikeable, dweeby teens.

House of Shadows (1976) - Oddly hypnotic but rubbish faux-Eurohorror from Argentina with John Gavin and Yvonne De Carlo.

Mother, Juggs and Speed (1976) - Harvey Keitel, Raquel Welch and Bill Cosby appear in a car chase comedy/weepie drama that despite its Needhamesque marketing, and befitting Cosby's style, is actually a sentimental light-drama about ambulancemen.

Nickelodeon (1976) - Ok.ru. Another Bogdanovich-Ryan O'Neal ego-marathon. The same 30s Hollywood dramedy everyone was making in the 70s.

Blondy (1976) - Starring Bibi Andersson and Rod Taylor as an Aussie-accented American UN attaché, this is marketed as an Emmanuelle-type picture, but it's actually a Crazies/Cassandra Crossing international viral outbreak picture combined with softcore melodrama. It's not very good.
There are weird puppets.

The Other Side of the Wind (1977/2018) - Oh well, it's as if Orson Welles directed a Jess Franco film (considering Jesus had been his assistant) or an Al Adamson film (with a lot of the same collaborators including Gary Graver and Geoffrey Land)..

Les Passagers (1977) - Grim, unlikeable hostage-thriller with Mireille Darc, Adolfo Celi and Jean Louis Trintignant.

Violette Noziere (1978) - Chabrol-helmed French-Canadian crime biopic with Isabelle Huppert. Dry, boring, no hint of Canadian sensationalism, just the cold.

French Postcards (1978) - A slightly less Little Romance. Aimed at Americans who have a cliched view of Paris. Star Valerie Quenessen went onto the unlikely duo of Conan and Silas, then quit acting and died in a  car crash.

The Great Santini (1979) - Also, like Conrack, based on a novel by Pat Conroy, this time based sort-of  on his father, Robert Duvall is good, the Spanish prologue is fun, but it is rather too treacly/After School Special once it reaches Michael O'Keefe, and Blythe Danner is too young for her role (though I suppose if you count the Dawson Casting, it works out slightly).

Nightwing (1979) - Finally found this, and it's awful. Italian-Americans as Indians in beatle wigs vs bats, while David Warner tries his best to give it dignity in a cravat.


Night Boat to Dublin (1943 - b/w) - Robert Newton, Herbert Lom, Guy Middleton,Leslie Dwyer, Valentine Dyall, Marius Goring, Brenda Bruce, Wilfred (sic) Hyde-White and Edmundo Ros and his Rhumba (sic) Band star in a typical, not very Irish propaganda thriller. It doesn't even climax here. It ends in Devon.

The Bicycle Thief (1949 - b/w)- Attractive but drizzling with sentiment.

Park Row (1952- b/w) - Basically, Sam Fuller makes the story of the people you hear about in a western but never see. The late 19th century newspaperscene doesn't intrigue me. It looks like a western.

The Good Die Young (1954 - b/w) - Typical British crime movie of the 50s, with a mixed Transatlantic cast.

The Draughtman's Contract (1982) - I found it almost inpenetrable, even though I liked the soundtrack since I was a  wee kid.

The Pirate Movie (1982) - Part of the 80s Bill Kerrnaisance, this sloppy Airplane-ish take on Gilbert and Sullivan, with Kristy McNicol, Christopher Atkins, a pre-Prisoner Maggie Kirkpatrick, and Garry "Norman Gunston" MacDonald is an odd duck indeed.

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