What Was The Last Movie You Watched?

[1967Cougar390]

And Then There Were None, is a wonderful Agatha Christie mystery that follows the classic nursery rhyme “Ten Little Indians” as strangers are murdered one by one. The murderer, Mr. U.N. Owen ( Unknown) does his dirty work while posing as one of the group of potential victims.

The group is invited to an isolated island mansion. The only transportation to the island is by boat and it won’t return until the weekend is over. Each guest has been accused of committing a crime that led to death, and each has been lured to the house with money, jobs, or corresponding deception.

The cast is stellar and believable. This mystery sprinkled with a touch of comedy and is an enjoyable way to pass a hot summer afternoon.

Steven

 

[Fading Fast]

The Legend of Bagger Vance from 2000 with Will Smith, Matt Damon, Charlize Theron, Bruce McGill and Joel Gretsch


Charm and whimsy are hard to build a movie around, especially if you don't want to end up with a treacly mess on your hands. But it works in The Legend of Bagger Vance because part of director Robert Redford's brand is doing period films with charm and whimsy that know their limits.

Who wouldn't want super cool, kindly and insightful Will Smith as a guardian angel? While Will Smith anchors the charm and whimsy here, an equally talented cast moves this two-hour effort about a mythical Depression-era golf match along with enchanting ease.

Charlize Theron, the wonderfully named southern-bell-with-grit Adele Invergordon, facing bankruptcy as her deceased father's luxurious golf resort struggles to stay afloat in the 1930s, hits upon the idea for an all-star golf match.

The challenge is she needs to convince her estranged husband, former young golf phenom, Matt Damon to be the local star player joining famous golf champions Bobby Jones and Walter Hagen.

Damon, a World War I vet, suffering from what we'd come to know is post traumatic stress disorder, hasn't played golf or, well, with his estranged wife, Theron, since returning from the Great War. Yet, without his participation, the creditors won't support Theron's Hail Mary to save her resort.

In one of the movie's highlight scenes, Theron offers herself up to a mildly drunk and dispirited Damon in return for his agreeing to play in the tournament. But Damon, knowing he's lost his golf swing - sure it's a metaphor for his post-war life and sex drive - rejects a beguiling and disrobing Theron. Wait, what? Yup, she had to put her dress back on and leave untouched.

Enter Will Smith as Bagger Vance, the ethereal philosopher caddie. Playing Damon's conscience and spiritual advisor, Smith forces Damon to confront his demons and decide if he's ready to fight to get his golf swing and, by proxy, his life back.

With the tournament now on, Smith deftly guides Damon through the emotional preparation for play as well as offering real caddie advice. The movie could have coasted from there into a quick match focused on Damon's resurrection.

But Bobby Jones, played with professional cool by Joel Gretsch, and Walter Hagen, played with perfect zeal by Bruce McGill, take the movie up another notch.

The tournament becomes a metaphor for different approaches to golf and life itself with Jones representing the consummate and methodical professional; Hagen, the gambler player making great errors and great saves; and Damon, the underdog comeback story of a man finding his way in life again.

(Spoiler alert) Sure it's a well-crafted adult fairy tale, but as Damon reclaims his swing, you can't help cheering him on. When he and Theron re-unite afterwards dancing under the stars, you feel happy.

Charm and whimsy, as noted, can overwhelm a movie, but with Redford at the helm, wonderful source material (a novel by Steven Pressfield) and a talented cast, The Legend of Bagger Vance strikes a balance that leaves you smiling.


N.B. The movie is 1920s and 1930s eye candy from beginning to end. The cars, clothes, architecture and other period details are beautiful, which, combined with Redford's directing, make the era look prettier than it probably ever really did.

 

[Trenchfriend]

Hunt for Red October

Say what you want, but they just did it right in this thriller.

 

[Fading Fast]

Hunt for Red October

Say what you want, but they just did it right in this thriller.

Are you aware there is also a good submarine movie called "Das Boot?" I think you'd enjoy it.

I've seen "The Hunt for Red October" probably fifty times - so I'm worse than you.

 

[Worf]

"The Tomorrow War" - This Amazon Prime film entertains on only two levels 'bombast and bullsh*t". Lot's of money was expended on 'splosions and special effects. The creatures look good, the action set pieces were engaging and visually stunning. Where the film falls down is anything involved with a plot. See if this makes any sense to any of you fine folks. Humans come from the future back to the past to ask for bodies to fight an alien threat in their timeline. This threat has humanity on the ropes and they're desperately in need of help. The world responds and sends it's best fighters who immediately get destroyed.

In response to this disaster a world wide draft is instituted wherein folks are sent into battle with little or no training, and wearing whatever they showed up with on their backs. Hunh? WTF? That's just the first of the plot holes. In that the basic plot of this flick is lifted bodily from Halderman's Sci Fi classic "The Forever War" expect lawsuits to flying hot and heavy soon. This movie is also quite long, two hours and nineteen minutes long. It's basically a film in three acts. The first two acts keep you engaged and interested the third is just ludicrous. The movie is a rip off of far superior works, most notably, "Aliens" and "Independence Day" along with a few others. If you want's to see stuff "blowed up real good", this is the flick for you! If you've any working brain cells... err maybe not.

Worf

 

[Worf]

View attachment 345217
The Legend of Bagger Vance from 2000 with Will Smith, Matt Damon, Charlize Theron, Bruce McGill and Joel Gretsch


Charm and whimsy are hard to build a movie around, especially if you don't want to end up with a treacly mess on your hands. But it works in The Legend of Bagger Vance because part of director Robert Redford's brand is doing period films with charm and whimsy that know their limits.

Who wouldn't want super cool, kindly and insightful Will Smith as a guardian angel? While Will Smith anchors the charm and whimsy here, an equally talented cast moves this two-hour effort about a mythical Depression-era golf match along with enchanting ease.

Charlize Theron, the wonderfully named southern-bell-with-grit Adele Invergordon, facing bankruptcy as her deceased father's luxurious golf resort struggles to stay afloat in the 1930s, hits upon the idea for an all-star golf match.

The challenge is she needs to convince her estranged husband, former young golf phenom, Matt Damon to be the local star player joining famous golf champions Bobby Jones and Walter Hagen.

Damon, a World War I vet, suffering from what we'd come to know is post traumatic stress disorder, hasn't played golf or, well, with his estranged wife, Theron, since returning from the Great War. Yet, without his participation, the creditors won't support Theron's Hail Mary to save her resort.

In one of the movie's highlight scenes, Theron offers herself up to a mildly drunk and dispirited Damon in return for his agreeing to play in the tournament. But Damon, knowing he's lost his golf swing - sure it's a metaphor for his post-war life and sex drive - rejects a beguiling and disrobing Theron. Wait, what? Yup, she had to put her dress back on and leave untouched.

Enter Will Smith as Bagger Vance, the ethereal philosopher caddie. Playing Damon's conscience and spiritual advisor, Smith forces Damon to confront his demons and decide if he's ready to fight to get his golf swing and, by proxy, his life back.

With the tournament now on, Smith deftly guides Damon through the emotional preparation for play as well as offering real caddie advice. The movie could have coasted from there into a quick match focused on Damon's resurrection.

But Bobby Jones, played with professional cool by Joel Gretsch, and Walter Hagen, played with perfect zeal by Bruce McGill, take the movie up another notch.

The tournament becomes a metaphor for different approaches to golf and life itself with Jones representing the consummate and methodical professional; Hagen, the gambler player making great errors and great saves; and Damon, the underdog comeback story of a man finding his way in life again.

(Spoiler alert) Sure it's a well-crafted adult fairy tale, but as Damon reclaims his swing, you can't help cheering him on. When he and Theron re-unite afterwards dancing under the stars, you feel happy.

Charm and whimsy, as noted, can overwhelm a movie, but with Redford at the helm, wonderful source material (a novel by Steven Pressfield) and a talented cast, The Legend of Bagger Vance strikes a balance that leaves you smiling.


N.B. The movie is 1920s and 1930s eye candy from beginning to end. The cars, clothes, architecture and other period details are beautiful, which, combined with Redford's directing, make the era look prettier than it probably ever really did.

I have some problems with this film from both a historic sense and a personal one. At the time this film depicts all my father could do for work was either farm, bellhop, shoe shine, butler, wait tables, operate an elevator, chauffer or caddy, most of these he did at one time or another through the great depression and beyond. A film trope developed that no matter how menial the labor, we existed only to further the plans, careers and happiness of our white employers... Even to the point of sacrificing our own lives, dreams and aspirations to make this happen. By the time this film was released I was thoroughly done with this trope. I finished the film but have never watched it since. The same with "Driving Miss Daisy" or other's of their ilk. When combined with White Savior Syndrome, there are more'n few of these I have not and will not watch.

Worf

 

[Fading Fast]

The Unfaithful from 1947 with Ann Sheridan, Lew Ayres, Eve Arden, Zachary Scott and John Hoyt.


The Unfaithful is a good movie that could have been much better if it had decided what kind of movie it wanted to be. Instead, it's a little bit noir, a little bit crime drama, a little bit soap opera with a tiny bit of mystery wrapped in. It's all just a little bit too much for its straightforward plot.

With her husband away on business, happily married Ann Sheridan is attacked by a man in her home late one night and she kills the intruder. The initial police investigation is reasonably consistent with her story of self defense against an unknown burglar, but a few loose ends dangle.

Immediately after the murder, Sheridan's lawyer, Lew Ayres, is approached by an art dealer offering to sell him a sculpture of Sheridan - at a very high price - which, he tells Ayres, was made by the dead man who, we learn, was an artist.

Ayres immediately gets the implication of this threatened blackmail, but at times, the movie acts as if the audience wouldn't have connected those simple dots. But we get it; Sheridan had an affair with the artist while her husband, Zachary Scott, was fighting overseas. She met Scott two weeks before they married and he shipped out.

The bulk of the movie from here is watching Sheridan, with some help from lawyer Ayres, trying to keep the affair a secret from her husband, while the police investigation, led by a young and well-cast John Hoyt, slowly grinds toward the truth.

Playing on in the background is the social aspect of the murder as most of Scott and Sheridan's middle-class friends happily wallow in the rumors and salacious implications ("she killed her lover - teehee"). No "friend" does the schadenfreude routine better than Eve Arden, who blows in and out of scenes with a verve and cynicism that leaves everyone flat in her wake.

Arden didn't quite have the Hollywood looks to be a leading lady, but she did carve out a heck of a niche as a character actor, usually playing the friend or sidekick with a sharp tongue and loose morality. Here, she comes across as Sheridan's frenemy, but you think there's more to her and are rewarded later on for believing so.

When all the details of the murder eventually spill out, as they always do, Sheridan's husband is shocked, society is (happily) rocked and Sheridan is arrested for murder. After a darn good trial - smartly filmed in quick, impactful snippets - (spoiler alert) Sheridan is acquitted, but her marriage wrecked.

(One more spoiler alert) It takes Ayres as the insightful lawyer and Arden as the, deep down, better friend than most to get Sheridan and Scott to see that (God knows how this got passed the censors) one mistake made by a newlywed, under the extreme stress of years of war-time separation, does not negate an otherwise happy marriage.

Perhaps so much went on, on the home front, when the men were away fighting, the usually hidebound Motion Picture Production Code realized it needed to excuse some behavior to save a lot of marriages. That or the censor was asleep when The Unfaithful was being previewed.

It's a good movie with solid acting that would have been even better if it had picked one or two styles to go with - noir, crime-drama, mystery or soap opera. Despite that, as with most Warner Bros. movies from the era, the studio packed a lot of story into a reasonably short time. Even with its flaws, The Unfaithful moves by quickly and enjoyably.

 

[Harp]

Another homer, another law with trial flick must see as soon as possible, another after trial flick analysis-
suitably armed with a cheap less expensive on the rocks double Evan Williams, and absolutely Etta James
singing At Last. Believe it or not, these 1930-1940s lawyer caught in the middle films are very instructive
as well as entertaining. I would, however, like to see more motions for directs thrown fast across the plate
at the learned trial judge.

 

[Fading Fast]

Another homer, another law with trial flick must see as soon as possible, another after trial flick analysis-
suitably armed with a cheap less expensive on the rocks double Evan Williams, and absolutely Etta James
singing At Last. Believe it or not, these 1930-1940s lawyer caught in the middle films are very instructive
as well as entertaining. I would, however, like to see more motions for directs thrown fast across the plate
at the learned trial judge.

What I want to know is where in the real world are these engaged and helpful lawyers who go above and beyond for their clients? When I've had to hire a lawyer in my personal life, it's all about retainers ("I need a check before I can start") and billing ("every quarter hour") and you can never get them on the phone anyway. Yet in movies, they are doing all sorts of things to help their clients and, quite often, tell the client not to worry about the bill. However, again, back in real life, lawyers seem to really be billing machines that practice law on the side.

 

[Harp]

What I want to know is where in the real world are these engaged and helpful lawyers who go above and beyond for their clients? When I've had to hire a lawyer in my personal life, it's all about retainers ("I need a check before I can start") and billing ("every quarter hour") and you can never get them on the phone anyway. Yet in movies, they are doing all sorts of things to help their clients and, quite often, tell the client not to worry about the bill. However, again, back in real life, lawyers seem to really be billing machines that practice law on the side.

I once interviewed at Kirkland & Ellis, an international blue chip law firm with a Chicago presence.
The interviewer took me inside the partners conference room: huge room, large window overlooking downtown,
polished walnut table, chairs, and a bar. Offered a drink-only two o'clock-and told that of 63 individuals, all were
pared down to three-and I was #2; so an offer was not made but remained possible. I was frankly informed as well
that if hired I would not be allowed a personal life beyond professional responsibilities. Milk and honey law land.
The facts of law life.

The solo practioner who flies his own shingle or ensconced in a small two-or-three lawyer gang has it tough,
billing quarter hours to account effort, chasing clients, court dates, and innumerable obstacles seldom seen
on motion pix or television screens. I spent some years with the Veterans Administration Regional Counsel
in Chicago, and all medical treatment afforded veterans in local VA Hospitals that involved criminal or civil
cases went through my desk and most of the lawyers involved were single-mingle or small firm lawyers,
tough to get on the horn and scrambling, chasing a buck like everyone else. It's not a glamorous television
series life. But there are lots out there to be admired for their herculean efforts, especially those in criminal law.

 

[Fading Fast]

I once interviewed at Kirkland & Ellis, an international blue chip law firm with a Chicago presence.
The interviewer took me inside the partners conference room: huge room, large window overlooking downtown,
polished walnut table, chairs, and a bar. Offered a drink-only two o'clock-and told that of 63 individuals, all were
pared down to three-and I was #2; so an offer was not made but remained possible. I was frankly informed as well
that if hired I would not be allowed a personal life beyond professional responsibilities. Milk and honey law land.
The facts of law life.

The solo practioner who flies his own shingle or ensconced in a small two-or-three lawyer gang has it tough,
billing quarter hours to account effort, chasing clients, court dates, and innumerable obstacles seldom seen
on motion pix or television screens. I spent some years with the Veterans Administration Regional Counsel
in Chicago, and all medical treatment afforded veterans in local VA Hospitals that involved criminal or civil
cases went through my desk and most of the lawyers involved were single-mingle or small firm lawyers,
tough to get on the horn and scrambling, chasing a buck like everyone else. It's not a glamorous television
series life. But there are lots out there to be admired for their herculean efforts, especially those in criminal law.

Fair points from someone in the know - so thank you. The thing is, I don't mind the billing (don't love it, but if they are upfront about it, you know what you're signing up for), what I do mind is how you can't get their attention. I understand your points about their days, but as a client paying those fees, I wan't to have reasonable access to my lawyer.

 

[Harp]

Fair points from someone in the know - so thank you. The thing is, I don't mind the billing (don't love it, but if they are upfront about it, you know what you're signing up for), what I do mind is how you can't get their attention. I understand your points about their days, but as a client paying those fees, I wan't to have reasonable access to my lawyer.

I hear you, understood. A personal other-side-of-the-coin story: a lawyer once called me about his absent client,
whom had disappeared, and nowhere to be found. His client's profile was at that moment on my computer screen,
he had been admitted to a local VA Hospital for AIDS, a fact that I could not reveal to his attorney under penalty
of committing the tort of negligence. I told him that I did not know where his client was.

I typically placed federal liens on all veteran recover payments for criminal, civil, and work compensation cases,
and, representing Uncle Sam, my client was the 800 lb gorilla in the room who was definitely going to be first
in line, period, end of discussion. Once in a while, very seldom, I had to remind a local yokel or jack leg lawyer
who my client was and who was running the money show.

...I got a taste of my own medicine when Uncle Sam and I had some tax misunderstandings and I had to
sell my '94 XJS Jaguar convertible to settle the tab.

 

[Touchofevil]

Had the television on TCM last night, mostly in the background. Hosted by Eddie Muller and Ben Mankiewicz, I didn’t really hear much of what they said, but it was nice to have them around. I sat through bits and pieces of Get Carter, The Friends of Eddie Coyle, and all of Chinatown. I have seen Chinatown many times and enjoy it still. Was happy to have stumbled upon such a treat.

 

[Worf]

"The Summer of Soul" - As a musician and a former NY City resident at the time this documentary is set I was more than a little surprised I'd not heard of this concert series. Over 6 weeks in the Summer of '69... yea THAT summer, a massive free concert series was given in Mt. Morris park in Harlem. The line up was stellar, everyone from BB King to Sly and the Family Stone performed over the weeks. Also weekends were given to Latin music, jazz and gospel. The event was filmed and recorded but couldn't get marketed so the footage lay in a basement, unseen for over 50 years. Qwest Love of The Roots, found it and created this documentary.

Lot's of memories and tears in this one for me. Highlights of the footage presented was Stevie Wonder playing a frenetic drum solo and hinting at his musical metamorphosis to come with an outstanding turn on the clavinet. The 5th Dimension and Gladys Knight and the Pips also showed that even more "polished" mainstream acts could turn out when they chose to. But the best footage shown was of the gospel acts, capped off with a heart rending duet featuring THE Mahalia Jackson and Mavis Staples doing "Precious Lord". Talk about goosebumps. The finale was Sly and company doing the amalgam of "Higher" and "Hey Music Lover" immortalized previously in the film "Woodstock". However seeing as this performance was done BEFORE they did Woodstock I wonder which version future musicologist will prefer.

Social problems are discussed. Particularly the fact that Harlem burned the year before after MLK's assassination. Drugs, unemployment and decay are also mentioned but glossed over. The surprise standout of this film is the part played by then Mayor John Lindsey in getting the whole thing off the ground. For those who might not know Lindsey was a Republican, but the kind of Republican from a different age who gained reelection by interacting with Black, Jewish and Latino voters in the city. The gospel show was going on when the Moon Landing occurred. Cronkite sent a talking head up to the festival to ask Black people what they thought of the landing (more like why AREN'T you watching the lunar landing) and got some surprising answer's including two hilarious takes from Redd Foxx and Mom's Mabley.

You can watch this on Hulu but that won't do it justice. If you can see it in theatre. I foresee an Oscar nomination for Mr. Qwest Love when the dust settles.

Worf

 

[Harp]

BB and Lucille. Gladys. And later, much later, still the sound. Some things, moments locked in time.

 

[GHT]

On TV tonight was "Darkest Hour," Starring Gary Oldman as our wartime Prime Minister: Winston Churchill. The one scene that I would have omitted was, when towards the end of the movie, Churchill leaps out of his ministerial car and travels on the subway train, where he engages with all and sundry. It just wouldn't happen, but it does give the audience the spirit of our nation at that dark time. Other than that, Oldman gets inside the character that Churchill was. An brilliant portrayal of our wartime leader.

 

[Touchofevil]

Flipping back and forth between The Wild One on TCM and UFC 264 preliminaries on ESPN. It has been a long while since I last saw The Wild One, but since I came into it late, UFC takes precedence today. I have enjoyed what I have seen of The Wild One’s cinematography. I will have to try and watch the whole movie at some point.

 

[Touchofevil]

John Carpenter’s version of The Thing from 1982. It is still just as entertaining and scary as the first time I saw it back in 1982. A good cast of actors who I remember seeing all of the time on television and in films during the eighties. The creature/Thing is still pretty disgusting. Not everything in the eighties sucked.

 

[Harp]

On TV tonight was "Darkest Hour," Starring Gary Oldman as our wartime Prime Minister: Winston Churchill. The one scene that I would have omitted was, when towards the end of the movie, Churchill leaps out of his ministerial car and travels on the subway train, where he engages with all and sundry. It just wouldn't happen, but it does give the audience the spirit of our nation at that dark time. Other than that, Oldman gets inside the character that Churchill was. An brilliant portrayal of our wartime leader.

A man clearly summoned by Fate.
"To every man upon this earth
Death comes soon or late.
And how can man die better
Than facing fearful odds..." Macaulay, Lays of Ancient Rome

I have William Manchester's opus tribute, The Last Lion; Alone 1932-40 seated on my study desk.
A definite work of magesterial biography and analysis of the man and his moment but I confess to having
been overwhelmed by its scope and grandeur, put it down several times and still "on the slog" to finish.
There is a great reluctance to quit this man, to leave him. Such an enigma, whatever his public pose,
a man of algebraic equation chock full of disparate variable, elusive, pursued by his own demons.
A rare courage and relentless fighter, a fragile and most humble arrogance that met the hellishness
of human nature fully and without apology or excuse proclaimed his truth as the truth for all.
Easily the Twentieth Century's outstanding figure.

 

[Doctor Strange]

The most recent Woody Allen film, A Rainy Day in New York, on Prime. I cringed through most of it.

It's a strong contender for his worst film ever, with yet more weakened replays of plots and characters that were handled far better in his earlier works: Super-rich New Yorkers (the protagonist's nickname is Gatsby, oy), troubled film directors, beautiful young muses, sequences shot at NYC landmarks like the Metropolitan Museum of Art and the Delacorte Clock, classic jazz soundtrack, eccentric young people who never look at their phones and unbelievably idolize the past almost exactly like a screenwriter born in 1930 does, another unbelievable magical girlfriend replacement ending, the damn Carlysle Hotel bar again...

There was exactly one scene that wasn't a total loss, where the brilliant-but-eccentric Upper East Side-scion protagonist (Timothee Chalomet, seeming to have wandered in from a Whit Stillman film) gets a dressing down from his imperious mother (the great Cherry Jones) that really shakes him up.

Apart from that, this film is so lame that it actually makes his one-star efforts of the last decade look better. I can't even recommend it for Allen completists, it's just depressing. He really ought to retire, though I see he's already got another film completed...