Wooley Watches Movies, Makes Thread

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Death Proof
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Re: Wooley Watches Movies, Makes Thread

Post by Death Proof » Fri Jan 17, 2020 1:53 am

Wooley wrote:
Fri Jan 17, 2020 12:24 am
I watched that like 100 times.
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Ain't no grave gonna hold this body down
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Tue Jan 21, 2020 8:04 pm

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This is a diverting little romp from my youth that I decided to revisit. It was also a favorite of MASSIVEminiature's so this is another one for him.
I must say, it really helps when your expectations are low going into movies. This is the kind of thing I could see someone thinking absolutely sucked if they went in with the wrong expectations or having a good time with if they had the right ones. I ended up being in the latter camp, which is nice because I absolutely loved this movie when I was young, watched it at least a dozen times, new almost every line of the movie, and really, really wanted to be Bob McGraw (Tim Matheson). I mean, what better role-model for a 13 year-old?
Basically, they tried to make a somewhat less raunchy, 80s, Animal House-on-water, going back to the Tim Matheson well to propel it. Matheson is up to the task. Whether the script is or not, I'd say is up to the individual viewer.
The story is that the worst-ranked university in America decides to send its four worst students to compete in an annual collegiate raft race under the "Win and you graduate, lose and you're expelled" ultimatum. So the four misfits, comprising the aforementioned Matheson, Pee-Wee from Porky's, Harold from Midnight Madness (which you need to see if you haven't), and Officer Clark from The Hollywood Knights...
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...bond on a road-trip to the event and take on a bunch of unscrupulous Chads and carefree Karens for aquatic glory.
I am always amused at how well they always cast Chads in 80s movies. I mean, I can't imagine "Rex" ever being cast as anything but a Chad. And this movie has a veritable army of Chads. On the other hand, the Karens in this movie are actually decent people. Sure they're ultra-privileged white chicks, but they don't do any harm and their leader, the uniquely attractive "Heather Merriwether" played by Jennifer Runyon, is a sharp and plucky young woman. The portrayal of the Ivy League rich kids in this really amuses me though as they have river-side hot-tubs and champagne and shit in the middle of a raft-race. I loved the 80s.
There's some other silliness about the ROTC team that has also entered the race but that's almost filler and is pretty dumb. Not enough to ruin the movie but certainly a less than welcome distraction most of the time.
Ultimately, the movie mostly just rides Matheson's charm and he is up to the task giving a very Otter-esque yet thoroughly enjoyable run-through as a somehow debonair fuck-off.
Up The Creek is decent enough fun as a light diversion and is the third back-to-obscure-80s-high-school-college-romps that have actually not disappointed me in this thread, a run of luck that has to end some time.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Mon Feb 17, 2020 1:20 am

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Nope.
The hype train can just jump right off the motherfucking tracks on this one right now. I looked at lists calling this the 2nd or 3rd-best alligator horror movie ever made, and there are some out there. That is complete fucking horseshit. I could not imagine that a movie about alligators attacking could actually piss me off, but this one found a way, no about 2 dozen ways.
The biggest problem, honestly, is tone. There's an astonishing failure of tonal balance here with the movie seemingly taking itself very seriously in terms of the way that it's filmed for one thing, very serious, very realistic except when it's evoking certain moments to develop character and relationship, but more importantly character development and themes of family estrangement and father-daughter relationships and those weird dad-coaches that ruin their kids' lives and then putting that in the context of one of the silliest, most logic-defying B-movies I've seen in years.
You simply cannot ground a film in a tense, thoughtful, and genuinely melancholy reality and then devolve into shlock while maintaining that grounding despite anything that actually happens in the movie. It's not jarring but it's also not clever or creative, it does not work and it's bad, very amateurish filmmaking. I'm shocked to see that Aja made this because I've never seen him be so fucking off the mark. For anyone to decry Haute Tension and celebrate this film is inconceivable to me. And how does a guy who nails the very same tonal balance of horror-tension in a real world with B-movie silliness in Piranha 3D shit the very same bed so badly here?
I know that I cannot say this without then explaining the other side, what is so schlocky about it, so here's that presentation:
Logistically the movie makes almost no sense. The alligators can see great in the light but even better in the dark, the movie points out, and they live mostly underwater in this, yet they not only don't seem to be able to see the main characters swimming around but they can’t even see the flashlight swimming around a few feet from them? Yet they track other characters underwater from 100 feet away like they have built in homing devices. There are two small areas of the crawl-space that the movie deems "safe" early on, yet both characters abandon those spaces almost immediately, but are not attacked somehow, when these gators were covering every inch of the place just minutes before. For large portions of the movie the gators are somewhere under the water unseen, in THEIR environment, yet these characters move around almost freely except when the plot dictates that they not? Gators chase them on land for the first period of the movie, yet suddenly stop at the edge of the water later when that is the only way the main character can survive? A boat that is destroyed Jaws-style earlier in the movie now works just fine for an escape plan that then fails just seconds later? The main character walks barefoot across broken glass and they even kinda close-up on her feet grinding on the glass and do sound effects no less, yet she is totally unaffected by this and doesn’t spill a drop of blood or have any issues?
And talk about bad logic in character reasoning, like historic horror-movie-terrible-decision making, you have the option of just going up to the second floor or attic of the house you’re already in and waiting out the gators/storm, but instead you decide to cross like a couple hundred feet of gator-infested water? The dad, who had to do some horrifying painful splinting of his knee with a belt and wrench earlier is now gonna carry the dog across 200 feet of chest-high water? The cops step in the water for 20 seconds and are swarmed immediately by five gators but the main characters just walk and swim all around and don't get caught or seen, but then will suddenly get their asses bit outta nowhere on the second floor? And then some of the moments where she outswims the gators are obviously just ludicrous. If this wasn't looking so hard like it was trying to be grounded in the real world, eh, maybe you could let this slide but jesus. There are some other moments that really didn’t work either. And, come on, getting one’s arm bitten off without immediate trauma attention is uniformly fatal in a matter of probably less than a minute, but we just tie it off with yet another belt (where does this guy get all these belts?) and he’s fully conscious and able to walk/run/swim? Maybe my favorite one, how about them showing a gator burst through a fucking wall earlier in the movie, but it is held off and then captured by a sliding-glass shower-door like now it's stuck in an aquarium? Made even more absurd by, just a minute or two later, a comparably-sized gator bursting through the fucking second-story window with its wood slats and all? Mother of god.
I mean, this is like Sharknado level shit, except again, the movie seems to take itself so seriously that it's just grating every time this shit happens and it piles up minute by minute. Maybe somehow all this ludicrosity works as a silly farce but not with this serious, melancholy tone that's been set up.
This movie is just fucking ridiculous, I really don’t see how this has been taken as anything other like Mystery Science Theater movie. Lake Placid is a far better movie, period, and it's not like that's a great movie.

Edit: One other beef. People can say, "Oh, it's better that they don't explain it", but that's bullshit in this case. Why the fuck are all these alligators so astonishingly aggressive all of a sudden? Is there a moment I missed where somebody says, "Hurricanes make alligators astonishingly aggressive where they not only kill anything in their territory, they actively and aggressively hunt anything moving, both alone and in packs?" Cause I missed that part.
And what was with the fucking eggs? Was there any point to that?
Fuck.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Mon Feb 17, 2020 5:22 pm

Oh, I forgot to mention the two aspects of the film I did like, the acting by Kaya Scodelario and Barry Pepper (I thought he was dead!), and the fact that
the dog didn't get eaten
. That was a refreshing break from expectations.
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Re: Wooley Watches Movies, Makes Thread

Post by Death Proof » Mon Feb 17, 2020 5:30 pm

I'd rather just re-watch Lake Placid.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Mon Feb 17, 2020 5:32 pm

Death Proof wrote:
Mon Feb 17, 2020 5:30 pm
I'd rather just re-watch Lake Placid.
I think that's what I'm gonna do.
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Re: Wooley Watches Movies, Makes Thread

Post by Thief » Mon Feb 17, 2020 5:38 pm

Oh man, I had hopes for that one. I had read good stuff about it.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Mon Feb 17, 2020 7:14 pm

Thief wrote:
Mon Feb 17, 2020 5:38 pm
Oh man, I had hopes for that one. I had read good stuff about it.
Me too. I was kinda shocked and really disappointed. Maybe your mileage will vary.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Sun Mar 08, 2020 10:23 pm

Welcome to yet another movie I watched entirely because the trailer, poster, or in this case, VHS-cover from my youth that made me always want to see it but I never did (see Don't Go In The House, House By The Cemetery and Mausoleum for other examples of this phenomenon popping up in my threads).
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Who even knows what the fuck... if anything... is going on in this movie.
This 1984 Kiwisploitation(?) sci-fi/horror (ish) film is... well, it's hard to say anything much about it really beyond that it is a sort of no-budget/no-skill schlocking-together of a lot of half-ideas and visual-attempts and whatnot inspired by things like Fulci and maybe some Mad Max or something. It's fairly violent and they try to spray a good bit of blood around and at times some of that actually even works for like a moment. But then the amateur-in-the-extreme "camera-work" or the, really, just LACK of any real script comes back to remind you that there is essentially NO talent at work here. And yet...
The story is basically that a scientist and his partner have a falling out as the partner believes the ground-breaking work they are doing with, ya know, Science (there's a sort of mish-mash of surgery and injectable serums and shit)...
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... is too dangerous and needs to be slowed down or stopped. The main scientist turns out to be a little mad/evil, believing that their experiments are leading to a Brave New World and the disagreement turns into an altercation witnessed by the partner's son. The Evil Scientist then injects the son with some compound from their Science that makes him go assassinate his parents (the partner), thereby removing the obstacle from the Evil Scientist's path.
The son is released from an asylum some years later and looks totally different, like a super-low-budget Rutger Hauer, and he's on some kind of excursion with his girlfriend and another couple, when they run into some creepy dudes who seem like throwaways at the time, but will later, seemingly out of the blue, turn out to be major characters. And there's something about, I guess, the son having a vow to go exact revenge on the Evil Scientist or something, which comes off as incongruous with everyon's awesome 80s mall-clothes...
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This is how you dress for revenge.
Anyway, there's a lot of dragging things out, driving around and shit to flesh out the run-time, whatever, until they finally arrive at their destination and you realize that this trip... with his girlfriend and the other couple... is actually to go infiltrate the big Evil Science Compound. In their 80s mall-clothes. Like this is what they were doing all along, going to break into a compound and fight an Evil Scientist.
But, anyway, they get in some tunnels and get attacked but he two creepy dudes now on motorcycles in underground corridors, which is kinda cool but gets dragged out a while and there's some footage used multiple times, and they escape to a nearby pub. So far the infiltration/revenge scheme is going great. But now the creepier of the two creepy guys goes rogue and releases a bunch of test-patients that are kinda like cheap near-future sci-fi versions of the Death Guards from The Beastmaster (or just cheap zombies)...
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... as sort of his personal army as he has decided he's special or something and has emerged (for now) as a major villain. So now it's kind of a zombie movie too. Sort of. For a few minutes. More Evil Scientists come and scoop everybody back up and take them back to Evil Science Compound, where now all the Death Guard/zombie guys are loose and killing all the scientists and the son finally has his moment with the Evil Scientist but goes mad in the process.

The funny thing, of course, is that I didn't really mind this movie. It doesn't make all that much sense, it doesn't have much craft and it times is really terrible, and I couldn't possibly defend it to anyone under circumstances. Yet, oddly, I could see being wasted at some midnight-theater showing and, if I made it through the first 30-40 minutes, kinda having fun with it and coming out happy. It's got Mad Science, really convincing brain surgery, a weird underground lair, Zombie Death Guards, Fulci lighting (at times), spewing blood, and a bit of that early-80s weirdness that I always enjoy, so how bad could it really be?
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Honestly, it's pretty bad, just a really, really amateur affair, so much so that they liked the shot above so much they used it twice in the film about an hour apart. Like it wasn't the only shot in the film that really stood out, no, we can totally sneak it by the audience a second time because it's cool and we really gotta pad this movie that's only an hour and 23 minutes with a lot of padding already. But ya know, in a weird way, that kinda shit is part of this movie's charm. If it has any. You decide.
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Re: Wooley Watches Movies, Makes Thread

Post by Rock » Tue Mar 10, 2020 12:43 am

Wooley wrote:
Sun Mar 08, 2020 10:23 pm
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Dr Freudstein?
"We're outgunned and undermanned. But you know somethin'? We're gonna win. You know why? Superior attitude. Superior state of mind." - Mason Storm
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Thu Mar 12, 2020 5:00 pm

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I got into this one in a strange way.
I missed Kate Bush completely back in the 1980s. I'm not sure how, I was plugged into all kind of music, especially British New Wave, but, while I heard her name on Night Flight frequently enough, I look back and realize I may never have heard a single song or seen a vide of hers. So when I came across an old documentary about her, I decided I needed to finally get to the bottom of this.
And while watching it, and I had actually walked over to the kitchen and wasn't even looking at the screen, I heard this melody that just grabbed my inner-self and shook it. The song was "Wuthering Heights". And I went down the rabbit-hole.
I listened to it dozens of times and was so fascinated and compelled by this melody, though I really couldn't understand what the fuck she was saying in the chorus and I kinda didn't want to know. Eventually I gave in and read that she wrote it in one night in 1978, when she was 18 years old (she is only 19 in the video), as Catherine's ghost calling out to Heathcliff in Wuthering Heights and the song is just such a plaintive call I decided I had to know more and ended up reading all about the Emily Bronte story and its many film iterations.
I decided to settle on the 1939 classic, even though it famously omits a great deal of the book, as it is apparently the version of the story so many people grew up on and knew. And here we are.

Wuthering Heights is a pretty grim fucking story. I am prodded by my surprise that a novel with so much illness of spirit was written and published in 1840s England. It was, apparently met with a mix of admiration and revulsion. One critic went as far as to write of it, "A fiend of a book – an incredible monster... The action is laid in hell – only it seems places and people have English names there."
The story revolves around Heathcliff and Catherine, a romantic/tragic pairing for the ages. Heathcliff is a "foundling", a child alone on the streets of London who is brought home... but importantly never adopted... by Catherine's father, the landed-gentry patriarch of the Earnshaw family. Heathcliff and Catherine quickly form a deep bond and are always together with their childhood feeling growing into powerful spiritual love as they reach maturity. But when Mr. Earnshaw dies, his biological son assumes mastery of the house and reduces Heathcliff to a stable-boy, humiliating him and treating him as a servant while Cathy stands by unable to do anything for him. They meet in secret on the nearby cliffs as they have since childhood. When Heathcliff leaves in a rage to seek his own fortune, he returns quickly and with no success due to his inability to be away from Cathy. Unfortunately, this does not help matters as she sees it as confirming that while she loves him passionately, he can never be a prospect for her. Eventually his heart is dashed when Cathy is offered the proposal of marriage from a neighboring gentry-man. Hiding nearby, Heathcliff hears the news and Cathy saying she could never marry Heathcliff as it would "degrade" her and he runs away... before hearing her reconsider and plainly state her deepest love for him, that to her their souls are intertwined and there really is no living without him. But he is gone.
Years later, he returns from America, wealthy and trained as a gentleman... but Cathy has married her suitor. Heathcliff carries a bitterness in his heart for her almost as great as his love, and Cathy is no saint either, loving him deeply but needing to almost possess him as she always had when he was her love but also just the stable-boy. So, in his bitterness, he sets about making her suffer for leaving him by buying Wuthering Heights out from under her brother and making him live as a second-class citizen in his own home and marrying her husband's younger sister and bringing her to Wuthering Heights.
Eventually, the emotional torture he heaps upon her is too much and she becomes deathly ill. Heathcliff goes to her and holds her as she dies, while her husband and his own wife look on, telling her (in the film and book's most famous line), "I have not broken your heart — you have broken it; and in breaking it, you have broken mine."
Years later, Heathcliff is a bitter man, living alone in a Wuthering Heights as run-down as his own soul when a visitor swears he sees and hears a ghost outside the window on the moor calling out, "Heathcliff, it's me, it's Cathy. I've come home. Let me in. I'm so cold." Heathcliff runs out into the moors searching for her and his body is found the next day there on the cliffs where they met in their youth, finally joining Cathy forever where she's been waiting for him on the other side.

It's melodramatic stuff, stuff, to be sure, but there is definitely an edge to it even in this sanitized version from Code-era Hollywood. Olivier and Oberon make an amazing pair as he inhabits this classic role of the embittered anti-hero in a way you only really see the greats do and she brings out the flighty, irresponsible, possessive and jealous side of Cathy as much as MGM would let her.
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To be honest, this is not the sort of movie I would think I would normally enjoy, I wondered if I could actually sit through the whole thing, but the story is really quite good, the characters are classics of the genre, maybe inventing it almost, the acting is first-rate, and the whole thing is just pretty emotionally powerful.
I can understand how this would have tremendous meaning for a highly-dramatic 18 year-old British girl, maybe even inspiring her to write a song that would launch a career and prance around on the moors as Cathy's ghost.
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Re: Wooley Watches Movies, Makes Thread

Post by Captain Terror » Fri Mar 13, 2020 3:34 pm

Wooley wrote:
Thu Mar 12, 2020 5:00 pm
I missed Kate Bush completely back in the 1980s. I'm not sure how, I was plugged into all kind of music, especially British New Wave, but, while I heard her name on Night Flight frequently enough, I look back and realize I may never have heard a single song or seen a vide of hers. So when I came across an old documentary about her, I decided I needed to finally get to the bottom of this.
And while watching it, and I had actually walked over to the kitchen and wasn't even looking at the screen, I heard this melody that just grabbed my inner-self and shook it. The song was "Wuthering Heights". And I went down the rabbit-hole.



Ha! I went through this exact thing last year----
Captain Terror wrote:
Tue May 14, 2019 4:37 am
Every couple of years I attempt to grasp the Kate Bush thing, with no success, but I think I finally made a connection on this latest attempt. (Listened to Hounds of Love over the weekend.) I'm not quite prepared to join the cult yet, but it feels like she got her hooks in me this time. Any fans around here?
and then a week later....
Captain Terror wrote:
Mon May 20, 2019 1:21 pm
OK, so I posted this a week ago and in the days since I've listened to the album daily, sometimes multiple times, I've watched various interviews and 2 documentaries and by Sunday night was pricing Kate Bush box sets on Amazon. As I type this I've got three of her songs stuck in my head simultaneously. I'm ready to be fitted for my hooded robe, or whatever it is the Kate Bush cult members wear. Good stuff, just sorry it took me so long to catch on.
Always fun to find a new favorite. As for the film, I watched it probably 30 years ago, and it wasn't my idea to rent it, so I didn't really connect with it at the time. I've been wanting to revisit it recently (partly because of Kate). I watched the Timothy Dalton version (1970) a few years ago but I don't remember a whole lot about it.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Fri Mar 13, 2020 3:46 pm

Captain Terror wrote:
Fri Mar 13, 2020 3:34 pm
Ha! I went through this exact thing last year----



and then a week later....



Always fun to find a new favorite. As for the film, I watched it probably 30 years ago, and it wasn't my idea to rent it, so I didn't really connect with it at the time. I've been wanting to revisit it recently (partly because of Kate). I watched the Timothy Dalton version (1970) a few years ago but I don't remember a whole lot about it.
Cheers!

And it is a more interesting film than I would have thought.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Fri Mar 13, 2020 3:54 pm

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I'm not gonna say much about this, I thought it was such a disappointment.
I consider Unbreakable to be Shyamalan's best film. I thought Split was a surprising return to form. The actors involved are excellent. He seemed to have a reasonable budget again.
So what the fuck was this?
It's not incompetent, it's just not a good script, not a good story. No part of it really. Almost nothing from it was satisfying to me. Really, almost nothing. It's hard to believe he spent years thinking about this, it seems more like something hastily thrown together to satisfy a studio demand, which we know was not the case.
I had come to think that Shyamalan had found his way again after The Visit and Split and now I have serious doubts again.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Fri Mar 13, 2020 4:20 pm

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Alright.
For those of you who said I needed to get off my ass and see this and that my resistance to watching this was foolish and unfounded: You were right.
This movie is, and this is not a word I use much, a delight. Genuinely funny and charming and delightful from start to finish. And for me, personally, full of surprises.

The story centers around two musicians (Tony Curtis and Jack Lemmon) looking for work who get caught up in bad business and end up on the run from The Mob when they witness a (surprisingly grim for the time and genre) vengeful execution by the regional Mob Boss. In desperation they take a job in an all-female traveling group, seemingly solving their problems as they are out of town... and in drag. Standard hijinks might ensue but the plot thickens when they meet the bombshell lead-singer of the band and find themselves losing control of their libidos and possibly their partnership when one of them decides he must play a THIRD character to try to woo the historic, irresistible lady-fair.
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Now let me just say this, I have always thought Marilyn Monroe was hot as ballz. That has never been in question. And I'd have sworn I'd seen at least one of her films. But it's possible I had always just seen clips of her from various things in various contexts and have never born the full brunt of her turned directly at me.
Sweet fucking Christ!
I get it now. I get it. I can understand how even the President Of The United States (when that meant something) could be unable to resist. God knows I couldn't.
I was simply agog. Really.

But Marilyn wasn't the only surprise for me in this movie. Jack Lemmon is an actor I've always had the utmost admiration for and really enjoyed to boot, but Tony Curtis is a guy I have never responded to and was a big part of the reason I've never watched this film in particular. I haven't exactly studied his work but he just seemed like a low-talent pretty boy whose career was probably arranged by the Mafia.
Shit was I wrong. I was shocked by how good he was in this. He plays his character, the musician, who turns out to be the romantic lead, that character playing a woman (admittedly for comic-effect), and then the musician playing the role of a wealthy playboy who CAN resist Marilyn Monroe.
And he pulls all of it off. He really does.

In conclusion, let me say that I found this movie full of surprises, utterly charming, quite funny, and also kinda Great in the sense that we use the word in "cinephile" circles to mean a film that is historically good for what it is. I can understand how this ends up on so many lists and how it has endured as being considered one of the best comedies ever made.
And I fully embrace the opinion of my colleagues here who told me to get off my ass and watch it.
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Re: Wooley Watches Movies, Makes Thread

Post by Popcorn Reviews » Fri Mar 13, 2020 4:34 pm

I'm also a huge fan of that one. It's well-acted, well-written, and quite humorous. I think I laughed a number of times at it. I initially wasn't sure what to make of the fact that Spats Columbo wasn't in the film that much but I eventually warmed up to that aspect during the film. I understand why some people don't like it here, but I'll always be a fan of it.
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Re: Wooley Watches Movies, Makes Thread

Post by Thief » Fri Mar 13, 2020 6:11 pm

Not my favorite Wilder, but it is indeed a delight. Very funny and I would say progressive for the time.
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Re: Wooley Watches Movies, Makes Thread

Post by crumbsroom » Fri Mar 13, 2020 6:55 pm

This movie has never done much for me. And I do not like Curtis channeling Carey Grant at all. He almost puts the film into the dislike pile for me. I'm not against Curtis on principal though. He's great in Sweet Smell.
Also, to continue my sacrilege properly, Monroe's charms have rarely meant much to me either. I remember liking her in Don't Bother to Knock and...thats it?
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Re: Wooley Watches Movies, Makes Thread

Post by Slentert » Fri Mar 13, 2020 7:36 pm

I watched Wuthering Heights recently for the first time as well and really enjoyed it. Elric Kane on Pure Cinema Podcast once named it the perfect pairing for Possession, and I can kind of see that, since both can be quite relentless in showing how loving someone can be the most painful thing in the world.

I think people often underestimate what a gifted comedic actress Marylin Monroe is. I recently watched All About Eve for the first time and she has some of the best lines in that one. "You won't bore him honey. You won't even get a chance to talk."
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Fri Mar 13, 2020 9:17 pm

Slentert wrote:
Fri Mar 13, 2020 7:36 pm
I watched Wuthering Heights recently for the first time as well and really enjoyed it. Elric Kane on Pure Cinema Podcast once named it the perfect pairing for Possession, and I can kind of see that, since both can be quite relentless in showing how loving someone can be the most painful thing in the world.

I think people often underestimate what a gifted comedic actress Marylin Monroe is. I recently watched All About Eve for the first time and she has some of the best lines in that one. "You won't bore him honey. You won't even get a chance to talk."
Yeah, I was really surprised that Heights had that edge to it, that sharp edge of obsessive love. I could see that pairing with Possession.

I agree on Monroe, I was really surprised with how credible she was as an actress in the film. I guess I really just wasn't familiar with her beyond her status as icon and the fact that she's always been my type (at least as far as blondes go). I mean, she's always struck me as being worth the hype. But I had no idea that she was actually an actress and not just an Anna Nicole Smith who caught the zeitgeist and got put in some films. She works perfectly in this movie. And the moment, pictured above, when she leans out of her bunk, even my old bones about fell off the couch.
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Re: Wooley Watches Movies, Makes Thread

Post by Takoma1 » Sun Mar 15, 2020 11:28 pm

Regarding Kate Bush:
I am a big fan of the recent Meg Myers cover of "Running Up That Hill":


Regarding Wuthering Heights:
It's one of the few classics that I've not read. My main reference point for it is Kate Beaton's work.

Regarding Some Like It Hot:
Really, really like it.

Regarding Tony Curtis:
I've liked him in The Great Race, Some Like it Hot, and The Defiant Ones. It was strange to see him play against type in The Boston Strangler.

Regarding Marilyn Monroe:
Love her. Gentlemen Prefer Blondes is probably my favorite role of hers, but I also really like her in Niagara and The Misfits.
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Wooley
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Sat Apr 25, 2020 5:47 am

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So I finally finished Friday the 13th (Part IX): Jason Goes To Hell.
What the actual fuck was this nonsense?

Seriously, I actually just sat through F13 VII and VIII on consecutive nights without batting an eye and honestly came away like, "Eh, I've seen worse, I was mildly entertained in a way." By movies that, respectively, feature a psychic fighting Jason with telekinesis and Jason catching a boat to fucking Manhattan and being dissolved in the nuclear waste they apparently hide under the city. And I was fine with those.
But this horseshit. What the fuck.
The fact is, it turned out, I actually saw like 20-25 minutes of this movie like maybe a year ago, and had no idea what it was and ultimately turned it off. Because you would have no idea, unless you watched the first 10 minutes and/or the last 10 minutes of this movie, that it had anything to do with the Friday the 13th franchise. The part I saw had some lawyer-sleaze lookin' dude storming a police station and then a diner and killing everybody with his bare hands for no apparent reason. And that's pretty much how this movie goes. What the fuck does any of that have to do with anything?
There's some astonishingly cockamamie subplot about like the Voorhees family tree or something, featuring Erin Grey in a heartbreaking career-moment, but as nonsensical as all that is, that's actually the good part. The rest of the subplot involves a bounty hunter, Jason's heart, one of the slugs from Night Of The Creeps, and some mystical bullshit dagger.
And, weirdly, this movie is actually more of like a body-horror movie draped over a cheap slasher that's trying too hard... I mean, what the fuck was with the crawly demon-thing and the random references to Evil Dead and Nightmare On Elm Street?!... I dunno, what a fucking bizarre, bizarre mess this fucking shit-show is.
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Honestly, what was this fucking bullshit?
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Re: Wooley Watches Movies, Makes Thread

Post by Captain Terror » Sun Apr 26, 2020 5:32 am

Wooley wrote:
Sat Apr 25, 2020 5:47 am
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The chances of me ever watching this are pretty slim, but what exactly is the context here? Is it just like an easter egg or is it more prominent than that?
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Re: Wooley Watches Movies, Makes Thread

Post by Captain Terror » Sun Apr 26, 2020 2:04 pm

Due to the presence of the Necronomicon and the dagger from The Evil Dead franchise, Jason is often incorrectly assumed by fans to be a Deadite. This was a simple fan service easter egg done by Director Adam Marcus. He intended to have a backstory for Pamela Voorhees that she used the Necronomicon to resurrect her dead son (explaining why he's hard to kill) after he drowned in the lake, but because Warner Bros. didn't own The Evil Dead franchise (which, at the time, was owned by Universal Studios), this couldn't be done legally so he had to secretly include the props as an Easter egg.

Just found that on the IMDB trivia page. Lots of interesting stuff there, I recommend checking it out. For example, the script appears to have been written in a 4 day cram session. And the studio didn't even have the rights to the phrase "Friday the 13th", which is why the title is what it is.

https://www.imdb.com/title/tt0107254/tr ... f_=tt_ql_2
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Re: Wooley Watches Movies, Makes Thread

Post by Thief » Sun Apr 26, 2020 2:14 pm

I don't remember a lot about Jason Goes to Hell, only that it felt really off and out-of-universe. I'm not sure if I would put it at the bottom of the pile, at least based on my recollections, but it's probably close.
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Re: Wooley Watches Movies, Makes Thread

Post by crumbsroom » Sun Apr 26, 2020 3:06 pm

Jason Goes to Hell is without any question the worst in the series.
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Re: Wooley Watches Movies, Makes Thread

Post by Thief » Sun Apr 26, 2020 4:08 pm

crumbsroom wrote:
Sun Apr 26, 2020 3:06 pm
Jason Goes to Hell is without any question the worst in the series.
I've always had Jason Takes Manhattan and Part 3 at the bottom. I've been doing a slow rewatch of the franchise during the last years and, casually, Manhattan and Jason Goes to Hell are next. We'll see if they're as bad as I remember.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Mon Apr 27, 2020 12:21 am

Thief wrote:
Sun Apr 26, 2020 4:08 pm
I've always had Jason Takes Manhattan and Part 3 at the bottom. I've been doing a slow rewatch of the franchise during the last years and, casually, Manhattan and Jason Goes to Hell are next. We'll see if they're as bad as I remember.
Ya know, it's funny, now that I've seen the whole thing (I had seen I-IV, VI, X, and FvJ in the past) and caught up on the rest recently (V last year and VII-IX the last few days), I really don't think there's that much difference after Part 2 (outside of JGH). If memory serves, I would probably put III, IV, V, and X at the bottom in some order above IX, but the rest seem pretty interchangeable to me, something like:

Part 2
F13

VI-VIII, FvJ
III-tFC
X
aNB

JGH


What I can say may effect some people is that, as we talked about above, there's some period where they had to stop having so much on-screen grue/graphic violence, I guess, and those may just feel like a low-point for those that find the value of them in their kills.
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Re: Wooley Watches Movies, Makes Thread

Post by Thief » Mon Apr 27, 2020 2:26 pm

For the most part, it is a lazy franchise in almost every aspect (from the scripts and performances to the cover art and posters). But like I've said numerous times here, I still hold it close to my heart, mostly because of how it transports me to the 80s and the time where me and my brother would watch them time and time again to the point that I can tell any of them apart from each other by a scene, a kill, or who plays Jason, or whatnot.

Having revisited most of them during the last 3 years or so, I would probably rank them as follows...

Part 2
Part VI
Remake
The Final Chapter
Original
A New Beginning
The New Blood
Part 3
Jason Goes to Hell (pending rewatch)
Jason Takes Manhattan (pending rewatch)

Jason X would probably be smack in the middle, based on my recollections, but it's also pending a rewatch.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Mon Apr 27, 2020 4:11 pm

Ya know, Jason X was just too modern for me, and I don't mean futuristic, I mean it just felt like a modern low-budget movie. And that didn't feel like a good format for a tired, and that point, downright silly franchise.
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Re: Wooley Watches Movies, Makes Thread

Post by crumbsroom » Mon Apr 27, 2020 4:35 pm

Jason X is not very good. It's close to one of the worst. But the fact that it contains one of the only legitimately clever scenes in the franchise that actually made me laugh out loud (sticking Jason in a virtual Crystal Lake), I don't begrudge it too much. The bar is that low.

I honestly don't even know how I rank them...but I can guess at it

Part 1
Part 2
Part 4
Part 6 (I respect it more than I like it)
Part 3
Part 5
Part 7
Jason X
Part 8
Jason Goes to Hell

I probably only legitimately enjoy the first two.
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Re: Wooley Watches Movies, Makes Thread

Post by topherH » Tue Apr 28, 2020 3:19 am

Original
Six
Five
Three
Four
Two
Eight
Seven

I don't want to think of the others that came after.
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Re: Wooley Watches Movies, Makes Thread

Post by ThatDarnMKS » Tue Apr 28, 2020 4:35 am

The definitive, irrefutable ranking of the franchise:

6
4
7
1
2
Remake
3
FvJ
X
GTH
8
5
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Re: Wooley Watches Movies, Makes Thread

Post by Death Proof » Tue Apr 28, 2020 5:59 am

I can't believe this many people here have actually watched all that garbage.
Ain't no grave gonna hold this body down
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Re: Wooley Watches Movies, Makes Thread

Post by ThatDarnMKS » Tue Apr 28, 2020 7:06 am

Death Proof wrote:
Tue Apr 28, 2020 5:59 am
I can't believe this many people here have actually watched all that garbage.
Most of us in here watch garbage all the time. What's hard to believe?
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Re: Wooley Watches Movies, Makes Thread

Post by topherH » Tue Apr 28, 2020 8:23 am

Death Proof wrote:
Tue Apr 28, 2020 5:59 am
I can't believe this many people here have actually watched all that garbage.
Hey man, I skipped everything after the 80's.
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Fri Aug 28, 2020 7:06 pm

Well, I'm backlogged like 40 films since I just really didn't feel like writing anything up for a while. I've got some really good stuff to write about so I thought I'd try to kickstart this a bit to warm up for my inevitable September and October threads.
Most-recent viewing forthcoming, then maybe I'll pick something I liked from the backlog. These will be pretty short though.
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Re: Wooley Watches Movies, Makes Thread

Post by Captain Terror » Fri Aug 28, 2020 8:53 pm

Bring it on!

I'm working on a fun idea for an October thread that will entertain maybe three of us. :P
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Re: Wooley Watches Movies, Makes Thread

Post by Popcorn Reviews » Fri Aug 28, 2020 10:05 pm

Looking forward to reading more of your write-ups, Wooley. Keep it up, man!
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Re: Wooley Watches Movies, Makes Thread

Post by Wooley » Fri Aug 28, 2020 10:08 pm

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Ahhh... the story of a man losing his Cherry. And going to absurd, dystopian-future, low-budget, Mad Max-knockoff lengths to get it back.
Sam Treadwell is a well-off yuppie in the not-too-distant future, living a simple, comfortable life with his beautiful, doting wife, Cherry, truly the perfect girl.
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And she oughta be, considering she was built that way.
Cherry is a rare, high-end gynoid wife, practically perfect in every way, beautiful, efficient, and totally devoted to her man. Until a romantic incident leads to her circuits all burning out and Cherry is beyond repair, lost forever to the grief-stricken Sam, who is left with nothing but her personality-chip.
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Sam wallows in his grief and has no interest in any human female, as there is simply no one as perfect as a Cherry 2000, a model that was, tragically, discontinued. Sam decides there's nothing left to do but embark on a quest to find a Cherry 2000 "chassis" he can reunite with the chip of his beloved wife and bring his Cherry home. But to do so, he must leave the safety of the big city and venture into the highly dangerous Zone 7, a post-apocalyptic-style wasteland ruled by the ideological villain, Lester. To navigate this lawless territory, he'll need the help of an expert "tracker" which he finds in the guise of Melanie Griffith's sly and skillful E. (Edith) Johnson.
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While at first reluctant to hire this pretty woman as his wasteland guide, he soon learns that no matter how deadly the situation, E. Johnson is all business, always at ease, and always has a way out. Together they set off into the wasteland in Edith's afterburner-fitted '65 Mustang to find Sam's precious Cherry with Lester and his henchmen hot on their heels.

To be honest, this is not a great movie. I'm sure that will come as a shock to many.
However, this movie has a number of charms to offer the open-minded viewer.
For one thing, the 1980s version of the future was just so much cooler than what we actually got. I mean, like, worlds cooler. What we got is so fucking lame, it's like way more boring than things already were, like everything cool actually somehow got filtered out and we were just left with the lame. Here is what the future was supposed to look like:
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Which is just a lot cooler than any of the bars I go to, that's for sure.
And Larry Fishburne never show up dressed like this at the places I frequent:
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And you can see that all this design really permeates the film and, on the budget, gives it a decent sense of world-building. I mean, I can actually kind of imagine that this is what people should be living in now instead of just like lame apartments and condos.
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So you can see that there is actually decent design, cool lighting, just a general overall aesthetic that does a nice job of making you believe that this could have been the future... and it's fun to look at. While the wasteland where we spend most of our time is pretty typical Mad Max, there are still outposts of fascinating degraded futurism like The Glory Hole and Lester's 1950s Motel oasis in the middle of the desert.
Speaking of Lester, Tim Thomerson does his best to steal this show, as usual, with what he's given to do. It is pretty fun, his villain is certainly unique and very amusing, but I think they could have let him go even more and this movie would have been even more fun. As it is, he's absurd and enjoyable... but still not quite able to steal the movie from Melanie Griffith.
I'll say this about Melanie Griffith: it's never really clear whether or not she can actually act at all, and yet there is something magnetic and certainly photogenic about her that makes you not really care so much. I think she was perfect for this and I can't imagine who else I would want for this if it was remade. She brings this strange combination of innocence and guile, poorly-hidden beauty and sexuality with a good coat of desert dust, a diamond somewhere deep in the rough, and it is exactly what this movie needs. She rides the hood of a car being carried across a chasm by a crane while trading rocket-launcher fire with dozens of henchmen as if it were afternoon tea, yet not with a hint of glibness to her. It's really pretty enjoyable.
I'd also want to comment on the obvious meta-commentary that comes with a main character who chooses to live with and be in love with a perfect robot rather than an imperfect woman. There's a lot of meat on that bone and the movie doesn't exactly go into it, but hints at it just enough to make you smile that they know that you know that they know, etc.
Ultimately, a fun flick, a very small hidden-gem maybe as this movie is no great shake and there is a reason it's largely forgotten, but it's a good movie for a Sunday matinee.
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