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10 IMDB = A+ (9.7 - 10.0) - Perfect
9 IMDB = A, A- (8.9 - 9.6) - Excellent
8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good
7 IMDB = C+, C, C- (6.5 - 7.6) - Strong
6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
Ratings
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Lists
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These are movies, that get a PMTM grade of a Fail (4 IMDB = F-, F, F+). However I still recommend seeing these films, because you have to see these films to believe them. They are so bad, that they are good. These are films, that may have one or two, entertaining or interesting qualities in them, that propel these movies into deserving time, for a watch session by movie-buffs. Movies graded 4 IMDB deserve a watch.
My List Order is ranked from the Best (F+) to the Worst (F-). It may help you to sort these films alphabetically or in release year order.
My Rating System compared to IMDB:
10 IMDB = A+ (9.7 - 10.0) - Perfect 9 IMDB = A, A- (8.9 - 9.6) - Excellent 8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good 7 IMDB = C+, C, C- (6.5 - 7.6) - Strong 6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these..
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
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You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
My Rating System compared to IMDB:
10 IMDB = A+ (9.7 - 10.0) - Perfect 9 IMDB = A, A- (8.9 - 9.6) - Excellent 8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good 7 IMDB = C+, C, C- (6.5 - 7.6) - Strong 6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
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My Rating System compared to IMDB: 10 IMDB = A+ (9.7 - 10.0) - Perfect 9 IMDB = A, A- (8.9 - 9.6) - Excellent 8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good 7 IMDB = C+, C, C- (6.5 - 7.6) - Strong 6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
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These are movies, that get a PMTM grade of a Fail (4 IMDB = F-, F, F+). However I still recommend seeing these films, because you have to see these films to believe them. They are so bad, that they are good. These are films, that may have one or two, entertaining or interesting qualities in them, that propel these movies into deserving time, for a watch session by movie-buffs. Movies graded 4 IMDB deserve a watch.
My List Order is random, so you might want to sort these alphabetically or in release year order.
My Rating System compared to IMDB:
10 IMDB = A+ (9.7 - 10.0) - Perfect 9 IMDB = A, A- (8.9 - 9.6) - Excellent 8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good 7 IMDB = C+, C, C- (6.5 - 7.6) - Strong 6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
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Cast List: Norman Fell Audra Lindley Ann Wedgeworth Suzanne Somers Jenilee Harrison Priscilla Barnes Don Knotts Richard Kline John Ritter Joyce DeWitt
My Rating System compared to IMDB:
10 IMDB = A+ (9.7 - 10.0) - Perfect 9 IMDB = A, A- (8.9 - 9.6) - Excellent 8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good 7 IMDB = C+, C, C- (6.5 - 7.6) - Strong 6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
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Gary Burghoff Harry Morgan Wayne Rogers Mike Farrell Jamie Farr, William Christopher and Herb Voland Larry Linville Loretta Swit McLean Stevenson and Harry Morgan David Ogden Stiers Alan Alda
My Rating System compared to IMDB:
10 IMDB = A+ (9.7 - 10.0) - Perfect 9 IMDB = A, A- (8.9 - 9.6) - Excellent 8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good 7 IMDB = C+, C, C- (6.5 - 7.6) - Strong 6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
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I still recommend seeing these films, because a film might have the right idea, but the execution ends up being bad. They are films, that the filmmakers clearly showed to the audience they tried their best, but for some reason or another, the film fails in the end. Another thing that makes these movies recommendable, is the idea that they usually have something interesting, historical or technical, that still keeps them as a need to be seen, type-of film classification. It also could be that they are just good enough to be middle of the road.
You might want to sort this list in alphabetical order.
My Rating System compared to IMDB:
10 IMDB = A+ (9.7 - 10.0) - Perfect 9 IMDB = A, A- (8.9 - 9.6) - Excellent 8 IMDB = B+, B, B- (7.7 - 8.8) - Very Good 7 IMDB = C+, C, C- (6.5 - 7.6) - Strong 6 IMDB = D+, D, D- (5.3 - 6.4) - Fair/Good
5 IMDB = E+, E, E- (4.1 - 5.2) - Worse than a D, Better than an F (E for Effort)
4 IMDB = F+, F, F- (3.1 - 4.0) - Fails, but still recommend seeing these films, because you have to see these films to believe them.
3 IMDB = UNWATCHABLES = 3 (2.1 - 3.0) = You shouldn't waste your time watching these films, but they are not the Worst Movies Ever Made. I still dare you to watch these.
1-2 IMDB = The Worst Movies Ever Made = 1 (0.1 - 1.0), 2 (1.1 - 2.0)
Reviews
The Wrecking Crew (1968)
Once Upon a Time in Hollywood
The Wrecking Crew (1968), would be the last Matt Helm movie starring Dean Martin. In the end credits of the film, there is an announcement, about the next Matt Helm movie, the Ravagers, which would never happen, due to the tragic loss of actress Sharon Tate, the following year. It was such a blow, that Martin felt, that the series had to come to an end. Thankfully, The Wrecking Crew (1968), still happened, and in this installment about the American Secret Agent, the bad-guy, Count Massimo Contini (Nigel Green), steals a train full of gold bars in Denmark, prompting the US government to send in Matt Helm. The trail sends Matt all through Europe. I saw this film recently and both, IMDB and Letterboxd have this film rated-PG, but for some reason it was rated-R on Tubi. I don't know if that was a mistake or just a difference of opinion. Not that it really matters, considering the film is too old to get an MPAA rating, so technically it's NR (not rated). Anyway, I saw nothing that garners an R-rating for The Wrecking Crew (1968).
On top of Sharon Tate, Matt has a plethora of beautiful Helm-Girls, that pop-up throughout the film, comprised of successful actresses, during this early phase of their careers, such as Elke Sommer, Nancy Kwan and Tina Louis (Gilligan's Island, 1964-1967). The film is produced by Irving Allen, who wanted an American Secret Agent, movie-character, to compete with the more famous British Secret Agent, who was tearing-up the movie theaters in the 1960s. Hugo Montenegro did the music soundtrack, which is one of the best parts of this movie. Matt's boss, MacDonald, was played by James Gregory (Barney Miller, 1975-1982), in the first three Matt Helm films, but in The Wrecking Crew (1968), Mac was recast with actor, John Larch. What also helps the quality of this film, is the fact, that the fight choreographer was Bruce Lee and there's actually, a Chuck Norris sighting. Dean also gets in a couple of songs, to sing in the background. It still is classic Matt Helm.
As Matt searches for the gold and the evil-doers, who took the bullion, an onslaught of nemeses and dangerous women, lay deadly traps for Dean and Tate's, Freya Carlson. Compared to the first two Matt Helm films, the last two were a little bit sloppy. There was a shot, that missed a reshoot and ended up in the final film, with a Chinese pursuer, who slips on the floor. There are many, out-of-place, jump-cut edits, used in the film, with not the best, organized direction. There are shots of extras, who are too close to the explosions. The believability goes out the window. Some scenes in The Wrecking Crew (1968), do drag in places. There are technical art-design and set-piece mistakes, like fake, sagging grass yards, that are obviously grass rugs. The laughs are kind of thin, with Dean just reacting to Freya's annoyances. Still, there are a lot of fun action scenes, most notably one involving a helicopter and a train. They built a set with a replica exterior of a train car, matted over a shot of fields and trees, going by the train in the background. It was probably the safest way to film that scene, considering how this film was going, but still doesn't look believable. The last shot of the movie probably angered some fans too. There also is another great, late-1960s, car-chase scene. Not the best of the film series, but has some history to it and still a blast for Dean Martin fans.
PMTM Grade: 6.3 (D+) = 6 IMDB.
Gekijouban Makurosu F: Itsuwari no utahime (2009)
A Bit Much
Macross Frontier: The False Songstress (2009), was an out-of-control mess. The only positives I could find in this film was the usual stuff found in anime, which was the beautiful animation, vibrant background paintings and rich colors. It's the animation that saves this film from an unrecommendable tag from me. The animation is quite good. The rest of the film was awful. I never understood the allure, of the main subplot to the Macross mythos, which is crossing over a galactic war with Britney Spears-type of characters. The mix always confused me, bur it may be a lack of experience, with Macross, that is the problem for me. My experience with anime came in the 1970s/80s, with Space Battleship Yamato, Gatchaman, Mobile Suit Gundam, Akira and the works of Hayao Miyazaki. I have seen Robotech, but that's the English version. I'm going to do more research on the original Japanese Macross, watch some of the older stories and maybe revisit Macross Frontier: The False Songstress (2009), again someday, to see if my feelings on it have changed, but wow, for now, this was bad and actually induced a slight headache.
PMTM Grade: 4.0 (F+) = 4 IMDB.
Glen or Glenda (1953)
It's Important to Watch Ed Wood (1994), Along With This Film
It's easy to call a movie low-budget, when that accusation is based off of seeing poor, special visual effects, used in a cheap, science-fiction film. It could be an easy accusation, when seeing amateurish acting, or cheap set-pieces in the scenes, but when a film looks like it was low-budget, just because the film stock used to shoot the film, looks well below professional grade film-stock, like Super-8, you may have an Edward D. Wood JR. Film on your hands. We leave the more-familiar science-fiction world of Ed Wood (Plan 9 From Outer Space, 1957), and witness his dramatic-side, albeit exploitation-side and enter into a world, not as unknown today in the 21st century, but in the 1950s, turned the world upside-down. Glen or Glenda (1953), is also known as, I Led 2 Lives (1953).
The basic premise of the film is about Ed Wood's secret-life as a transvestite. You need to see Tim Burton's Ed Wood (1994), for a satirical look at that part of Ed Wood's life. It helps to explain why this film was made. In order to capture that science-fiction side of himself, for Glen or Glenda (1953), Wood turned to veteran horror film actor, Bela Lugosi, to deliver to a world turned asunder, the poetic truths about sex-change operations, running amok in the 1950s. A dawn of a new world. Glen or Glenda (1953), still unintentionally hilarious. The acting is atrocious, other than Bela, who actually gives a couple of crazy, but foreboding, silly speeches about the future. Again, to really enjoy this film and the career of Ed Wood, is to watch the Burton film before this film.
3.7 (F+) = 4 IMDB.
The Sweet Ride (1968)
Choo Choo Burns
A mystery begins to unfold in the first two minutes of The Sweet Ride (1968), as we try to figure out who, almost killed, Vickie (Jacqueline Bissett), and left her for dead on the side of the road. The film switches into flashback mode from there and eventually, returns us back to current-day, leaving the last half-hour of the film, to fill in the missing pieces. We also have Anthony Franciosa as Collie Ransom and Michael Sarrazan as Denny McGuire, the tennis fraud and the surfer kid, who both fall under the spell of the beautiful, sexy Vickie Cartwright. The Sweet Ride (1968), is a different kind of crime-drama. There is definitely comedy sprinkled into this film, but it's mostly a drama. I was surprised by the amount of nudity seen in this film for 1968, but it was released, just at the time, that the change to the MPAA rating-system was happening. 1967-1969 was the start of the modern era of film. I also was stuck with a poor-quality, blurry, 4:3 copy of his film, that I found on YouTube, so I couldn't tell how noticeable the nudity was.
Bob Denver plays the third friend of, Collie and Denny's, interestingly named Choo Choo Burns. He is a hippie musician, in this very 1968 movie. The Sweet Ride (1968), shows signs of the Vietnam War in the background, by taking humorous shots at the crazy old Army guy, who lives next door. There's also plenty of marijuana use. Wow, Gilligan smoking a bong. That was great. His role in the Sweet Ride (1968), is a different kind of film for him. He's busy figuring out if his girlfriend is pregnant through half of the film. Thumper (Michele Carey), Choo Choo's girlfriend, is really hot and enhances this interestingly, unconventional role for Denver, because we were so used to seeing innocent, young, Gilligan for three years and not seeing a pot-smoking, ladies-man, who ironically gets drafted into the Vietnam War. Gillian's Island (1964-1967), ended the year before this film was released.
By the way, Jacqueline Bissett does a good Russian impersonation in the middle of the film. The story begins to get out of control slightly, with too many characters coming and going. The last half hour brings us to current day and the mystery becomes an afterthought. They really ruin the excitement of the mystery, that they had been building up to, since the beginning of the film. The poor character development, continuity and editing makes it look like Choo Choo disappeared. The passage of time isn't handled well. I guess his denouement was going to the drafting office, with his pink colored dog. Then he disappears. The film ends on an unsatisfying, boring finish, not really solving anything. However, the film is good enough, because the music was good, the jokes were good, the dedicated performances by the cast were good and some of the scenes worked out well.
PMTM Grade: 5.8 (D) = 6 IMDB.
For Those Who Think Young (1964)
Woody, Gilligan, Ginger and Ho Daddy
In For Those Who Think Young (1964), a couple has their relationship thrown into a tizzy when the man's grandfather, Burford Sanford Cronin (Robert Middleton), tries to break them up. Cronin and his cronies also want to shut down the bar, belonging to the girl's uncle, because of its influence on the local college students, who are Beach Party-movie clones. This is a non-Beach Party movie. There is no Annette Funicello or Frankie Avalon. This is a pure rip-off movie of the film Beach Party (1963), which came out the year before. Our main couple is Gardner Pruitt (Bobby Darren) and Sandy Palmer (Pamela Tiffin). They are Annette and Frankie. I had to watch a crappy, 4:3 copy of this film on YouTube, so it might be better when watching it on Blu-ray or on a streamer.
For Those Who Think Young (1964), is a film known for its blatant product placement, which never bothered me before, plus it was 1964, meaning that, all the electronic advertising came from movies, TV and to lesser extent, radio, during this era. I always considered product placement funny and just a part of entertainment. I mean, someone had to bring in the money, in order for these movies to be made. Many films never would have been made, if productions relied solely on studio cash. They even plugged Car 54, Where Are You? (1961-1963), into a joke. Also in the cast is Gilligan's Island alumni, Tina Louise (as Topaz McQueen) and Bob Denver as Kelp. Those Who Think Young (1964), came out a month before the first season of Gilligan's Island (1964-1967).
Kelp sings on the beach, buried in sand, with a close up of just his mouth, with a weird, creepy, character drawn on his upper lip, with lipstick on. He sings the song like this as the rest of the beach partiers dance around to "Ho Daddy, Surf's Up". They do the song-bit twice actually. Its somewhat creepy and adds to the very plotless film. Nancy Sinatra is Kelp's girlfriend, Karen. There's some kind of a backstory about this Ho Daddy chant they do during the Bob Denver song. Its like they are trying to make it a radio hit. Woody Woodbury plays himself, but is written in the story as an uncle of Sandy's. It is the same uncle, who's bar is in jeopardy in the film. Woodbury was a fairly famous comedian/talk-show host during the 1960s and this film was obviously designed to promote him even more. Woodbury is actually still alive at 100 years-old in 2024.
We also have Paul Lynde, ex-Three Stooges clone, Mousie Garner and a young, Ellen Burstyn, in the days before The Last Picture Show (1971). There's also a strange moment in the film when, for no reason at all, the butler, Clyde (Sammee Tong), begins dancing by himself, while listening to 8 tracks. That also was interesting, because 8 track cartridges first came out, just before this film was made. It was a sign of the times moment for this film. It's even weirder when it turns out, sadly, Sammee Tong died later thar year. So, there are some things in Those Who Think Young (1964), that make the film worthy of a watch. Even though its a Beach Party (1963), rip-off, the filmmakers show they tried there best, but a plotless film with comedy and music gimmicks thrown in isn't going to help, plus the story resolves too quickly. It just seemed like it was just, there.
PMTM Grade: 4.9 (E+) = 5 IMDB.
Mac and Me (1988)
Thank You to Paul and Conan
I only knew about Mac and Me (1988), from the Paul Rudd comedy-bit, that he has done on every appearance, he ever made on the Conan O'Brien show, over the last 20 years. The infamous scene of the wheelchair going over the cliff is a huge part of that bit. Finally, over 35 years after the release of the film, I saw Mac and Me (1988), after reading, that it's one of the worst movies ever made. So, I went into this movie with a very open mind and what I have concluded is, it's a very weird movie. I really wanted to give this film an E for Effort (which on my ratings scale is considered fair/good/average 5/10), because it was winning me over in the first quarter of the film. I did find it interesting, that after I saw the Paul Rudd bit so many times over the years, might bias my opinion of Mac and Me (1988), so I made sure to look at the film as objectively as possible. It is clearly capitalizing off of the success of E. T. the Extra-Terrestrial (1982), six years later.
Things begin to crumble for the remaining 75% of this movie. The overall plot of Mac and Me (1988), starts to go down hill quickly and the product-placement you see all over the screen, actually doesn't bother me, as much as the unexplainable dance number that breaks out in the McDonald's, in order to sell the product. It totally derails the pace of the film, among a few other really goofy moments with the aliens. Also, these E. T. the Extra-Terrestrial (1982), rip-off character designs, are really creepy looking compared to the lovable Steven Spielberg space-Bambi. The special effects aren't too bad for a low-budget, 1980s film, but that means, other areas of the film will suffer, because all the money went into the effects, such as acting, editing, soundtrack, no notable stars, audio mistakes, creature designs, you name it. The cheapness of Mac and Me (1988), flattens the good special effects. I can't say it's one of the worst movies ever made, but even influence from Paul Rudd can't save Mac and Me (1988), from still being labeled as a failure, but one that deserves to be watched, because you have to see this movie to believe it. Still a joy of wackiness.
PMTM Grade: 3.9 (F+) = 4 IMDB.
It Came from Outer Space (1953)
Universal VS Paramount
Fortunately, I've seen this movie in its original black and white, many times before, so I get it when it comes to the original version, but for this review I watched the restored, enhanced, colorized version, that is available on streamers like Tubi. It was not a good colorization job. I almost turned the color off on my TV. Do yourself a favor and find the original black and white version instead. Watch It Came From Outer Space (1953), as it was originally intended. What is interesting about the timing of this movie, was the fact, that widescreen movies began slowly trickling out in 1952 and by 1956 they were all, pretty much, in 16:9 widescreen. It Came From Outer Space (1953), produced by Universal-International, truly could have benefitted from the new format, especially while competing with rival studio, Paramount's War of the Worlds (1953), coming out later that Summer. A film, that was also shot in 4:3. Both films must have missed the cut, related to eligibility for widescreen, possibly by mere months.
I am a fan of Richard Carlson, mostly because of his Universal Pictures classic, Creature From the Back Lagoon (1954). He's also in one of the best Abbott and Costello movies ever, Hold That Ghost (1941) and many other films. I'm also a Jack Arnold fan, since he also directed Creature From the Black Lagoon (1954). He also directed 26 episodes of Gilligan's Island (1964-1967), which is interesting, because Russell Johnson (the Professor), is in this film too. It Came From Outer Space (1953), wasn't a knock down, drag them out, alien invasion fight, like War of the Worlds (1953) or Earth vs the Flying Saucers (1956). It got more into the psychological side of the alien paranoia of the 1950s. The film utilized its lower budget by having the aliens take over the physical forms of their human captives, instead of spending money on expensive special effects. I'm telling you, this film was the model, later used on in television, with shows like, the Twilight Zone (1959-1964) and the Outer Limits (1963-1965). It Came From Outer Space (1953), has it all. The music cues, the digitized alien voice, the screams, are all textbook, 1950s, science-fiction cinema.
PMTM Grade: C (7.2) = 7 IMDB.
Repeat Performance (1947)
Ahead of the Times
It's 1947. WWII just ended a couple years before. A popular form of cinema, known as film-noir, saturates the movie theaters. Repeat Performance (1947), is a very film-noir experience. What is really neat about this film, is the significant, sci-fi vibe going on in the story, which is a pretty daring thing for 1947 cinema. Richard Basehart, who plays mentally-compromised William, mentions in Repeat Performance (1947), about a new rocket plane, that flies faster than the speed of sound, referring to Chuck Yeager's historic, breaking of the sound barrier, in the X-1 rocket-jet earlier that year, further solidifying the fantastical nature of this film. Also, oddly enough, 1947 was the same year as the Roswell, N. M. Incident. Repeat Performance (1947), has a time-travel angle going on in the story. There weren't too many films about that topic before 1947. There is definitely a fantasy element to the film, which probably explains why I found this film, on the Sci-Fi Fawesome streamer. I was wondering about that, while I searched for the film to write this review. I wasn't ready for a movie from 1947, to tackle the idea of repeating a whole year, utilizing a concept, that is much more prevalent in the 21st century and not, 1947. It is a year, that takes place from New Year's Eve 1946 to New Year's Eve 1947.
There is no real explanation, as to why this repeat of the past year happens, other than the narrator telling you, that it does. The narration reminisces to the days of the old Twilight Zone (1959-1964) or Outer Limits (1963-1965) TV series. Our main character Sheila Page (Joan Leslie), gets the opportunity (through unexplained magical means), to rewrite the past year. Basehart doesn't even flinch when Sheila reminds him, each time, that she is reliving the past year. He gives off a feeling of sympathy for her, but not acknowledging her odd behavior. It's like he accepts her as the wifty, oddly-confused, future sear she says she is. He is the crazy character in the film, who accepts her story and doesn't question her, but we eventually find out why. In Repeat Performance (1947), Richard Basehart gives a really convincing portrayal. Sheila is an actress, who falls in love with drunk scoundrel-manipulator, Barney Page (Louis Hayward). Already married, she tries to relive the past year again, without making the same mistakes, that lead to Barney's death (we learn this in the first two minutes of the film, so no spoiler). As usual, the drunk ruins everything.
Richard Basehart is most famous on television, as Admiral Harriman Nelson, designer of the submarine Seaview, on Voyage to the Bottom of the Sea (1964-1968), broadcasted on ABC. Natalie Schafer shows up in Repeat Performance (1947), as rich sophisticate, Eloise Shaw. Schafer shows to the audience why she eventually became Lovey Howell on Gilligan's Island (1964-1967). She has that wifty, rich, sophisticate persona nailed down, even in this film. However, in Repeat Performance (1947), she is a vindictive, weaselly, type-of person, with lots of money and always looking for payback, from her male associates, which pulls Barney in deeper, because of her monetary contributions to the production. Sheila's husband Barney is a POS though and deserves, what he gets. It's a shame Sheila fell for him. To make matters even worse, beautiful playwriter, Paula Costello (Virginia Field), becomes the object of Barney's desire. Director Alfred Werker, uses the art of film well, especially in the mental hospital scene with Leslie and Basehart. Repeat Performance (1947), has really nice art direction, set pieces, mood and is shot really well. George Antheil did the soundtrack for this film and the thundering piece he uses for the climactic scene at the end is brilliant.
PMTM Grade: B- (7.8) = 8 IMDB.
Unfrosted (2024)
It's About a Breakfast Food
I thoroughly enjoyed this film. The color, the set pieces, the makeup, the nostalgia, the acting and the humor. It reacts from a world and a time, when entertainment wasn't flooded with too much noise and useless content, like in today's streaming environment. It was a time when news about a breakfast food made people excited and not want to throw things at their TV, because this breakfast treat was bad for them. The excellent cast put their faith into Jerry Seinfeld, who makes his directorial debut in Unfrosted (2024) and the performances pay off. This isn't saying that the film doesn't have its problems with pacing, moments of drag or inside jokes that don't land well with some. It is, again, a satirical biopic about a breakfast food, so dont expect a lot of action-packed moments. I recommend to those, who haven't seen the film yet, not to expect a Barbieheimer event with this film. It's not going to be like that, nor should it.
PMTM Grade: C (7.2) = 7 IMDB.
Dimension 5 (1966)
Captain Pike VS Oddjob
Star Trek's original Captain Christopher Pike, Jeffrey Hunter, is a secret agent for the fictional Espionage, Inc., who has the technology to transport to the future or the past, by stepping into a fifth dimension. Hunter's Justin Power, carries a belt on his waste, which has the controls he uses, to move through the dimensional hallway. Dimension 5 (1966), explores the real-world fears of the late-1960s, involving China, the Cold War and nuclear attack, which were heavily explored topics at this time in history. The two biggest genres of that time, were espionage and science-fiction films. United Pictures Corporation, was a small, independent film-company, that specified in TV-movies or specials. However, through certain business moves, ended up releasing all 11 of their films theatrically. It is important to remember this when watching Dimension 5 (1966), because the original intention should have been taken by the company, because the films may have been judged more harshly in the theaters, then they might have been on TV. Say what you what about television, TV technology in the late-1960s was still not very good and you could definitely see a bigger, sharper image in the movie theaters at that time. It was the obvious fact, that the sharper the image, the sharper the imperfections were too.
On top of some pretty bad editing, Dimension 5 (1966), has silly dialogue, low production values and not the best acting. It was still a good-enough effort, that I feel it still deserves to be recommended to others. Harold Sakata, who was Oddjob, from the Bond/007 classic, Goldfinger (1964), is the wheelchair-bound, boss-man Big Buddha, who had to have his dialogue, redubbed over, by voice-actor Paul frees, who was the voice of Boris Badenov, from the Rocky and Bullwinkle Show (1959-1964). Justin Power's new partner is Kitty (France Nuyen), who is the high-point of the story and does deserve some credit for her performance. She is smart, tough and sure, Jeffrey Hunter is just fine, but I did feel, like he was looking a little bored. Maybe, he wasn't a big science-fiction fan or didn't like spy-dramas. The main plot to Dimension 5 (1966), involving a plot to detonate a nuclear bomb somewhere, would be a reoccurring theme with United Pictures Corporation. They have a couple of other films, involving the same plot, with a China-driven, nuclear-age, espionage story, that has to be thwarted by the good guys. It's espionage, comic book, story-telling, at its best.
PMTM Grade: 5.2 (E+) = 5 IMDB.
Ask Me to Dance (2022)
Triple-Duty
A gypsy woman predicts, that Jill (Briana Evigan) and Jack (Tom Malloy), will achieve love in four days. So, you already know where Ask Me to Dance (2022), is going. This film has the normal, rom-com, modern-day, movie tropes, including meeting the bipolar girl, at the speed-dating event. When the old, gypsy lady meets Jack, she hands her cat to him and just before the edit-cut, it looks, much like, the cat wanted to scratch his eyes out. The casting choices in this film are weird. I don't get Tom Malloy as the leading man. He bites his lower lip too much and makes weird faces. And, how unoriginal to name your main characters, Jack and Jill. Mario Cantone (Sex in the City, 1998-2004) plays Jill's friend, Patrick. Briana Evigan is the daughter of actor, Greg Evigan, who for people over 45, know him from the TV-show, BJ and the Bear (1978-1981). After Mario Cantone, the biggest name in the film, with veteran-creed, is Joyce DeWitt (Janet from Three's Company, 1977-1984).
Ask Me to Dance (2022), feels like an expensively, long, college film. It smells like, the low budget, independent film variety of romantic comedies, that go straight to video/streaming. However, this dreary, independent, rom-com has moments strong enough to get an E For Effort, but it is a tough watch to see. DeWitt's character is head-scratching, with a weird, southern accent, mixed with a granny-type of Mrs. Roper, if she had a carry-permit. This approach to her character is so bad, it seems out of place. You don't really even like her much. Also, the dancing isn't that very exciting either and the film, ends like a wedding video. Who needs that? However, let's give credit, where credit is due, especially since Tom Malloy was pulling triple duty, as not only just the main actor, but also the writer/director of Ask Me to Dance (2022). It's also evident, that Malloy and Evigan give it their best with the dancing scenes. If Malloy had hired another actor for the Jack role, things may have worked-out better.
PMTM Grade: 4.5 (E) = 5 IMDB.
Liberty Heights (1999)
Richard Kline / Larry Dallas, Is In This Film
Liberty Heights (1999), takes place in 1954, in Baltimore. The story centers around the early days of schools implementing new integration laws. There also is a slight mob vibe to the film, considering Joe Mantegna's, Nate Kurtzman, owns a burlesque-club. The film also has a strong, romantic-dramatic presence too. Liberty Heights (1999), tries to explain cultural differences and why, young people interpret history differently than older people. It reminds us, that young people have many questions about race, fear, prejudice, everything and it's up to the older crowd, to help explain that to them. Liberty Heights (1999), reminds us, that history is important. There still is that Hollywood flare, evident in the film, which says, this is a professionally made film. One side of the film is a romance story and another part of the film, turns dangerous with a kidnapping.
Liberty Heights (1999), director, Barry Levinson, who directed Rain Man (1988) and Good Morning Vietnam (1987), gives to us, a strong story, that hits upon, that time-period, in the mid-1950s. There are influences from Diner (1982), which explains a lot about this film. Liberty Heights (1999), is kind of, a mix between American Graffiti (1973) and Harlem Nights (1989). It's pretty good. It's a a pivotal time for the civil rights movement. The way the story is handled, makes you wonder, what the characters lives may have been like, if they lived in a different time period or in an alternate world, that had no discrimination. There is a good soundtrack. There's also a well-crafted, James Brown concert recreation. Liberty Heights (1999), has an interesting collection of actors too. The film has an R-rating, because of the fact, that Nate owns the burlesque theater. The film made me think of Perry Mason films too.
PMTM Grade: 7.8 (B-) = 8 IMDB.
Pleasantville (1998)
An Homage to Classic Films and TV, While Becoming Its Own Modern Classic
Tobey Maguire as David and Reese Witherspoon as his sister Jennifer, are sucked into a black & white, 1950s, TV show, named Pleasantville and can only get out of it, by satisfying the ego of its curator, the TV Repairman, played by Don Knotts. Pleasantville (1998), is a modern classic, directed by Gary Ross. Don Knotts' TV Repairman, is the character, that gets this film started, trapping the Wagners in this new b/w world. He presents to us a more subdued version of his classic Ralph Furley (Three's Company, 1977-1984), persona, in Pleasantville (1998), but most notably, after he scolds the kids, from inside a television screen, just to appease his own ego. He gives his character and the story, a certain comparison to the Wizard, from the land of Oz. JT Walsh as Big Bob, presents himself as a formidable antagonist. He is part of the town's, conservative, ethics-police, who see the Wagners as a threat. The library becomes a sinful place in the eyes of the town elderly leaders.
There is a Back to the Future (1985), vibe to Pleasantville (1998). The world in Pleasantville (1998), is a 1950s television universe. Since it's the 1950s, there are never bad words. It never rains. There is no sex. There isn't even a toilet in town. A big part of the story is about sex and the different feelings towards it, between the attitudes of the late-1950s and the late-1990s. Pleasantville (1998), explores the social and cultural issues of the 1950s and the barriers, that we faced in the real world back then, but disguises that world as a colorful, 1950s, Warner Brothers cartoon. It's actually making fun of real-world, values and ethics crowds, but in a much more pleasant, comedic story. What is considered wrong in the Pleasantville universe, is preaching the idea, that colors are bad and you shouldn't break out of this 1950s, sterile society. There eventually is totally, a Nineteen Eighty-Four (1984), influence, with Walsh standing in front of a Pleasantville handshake banner, taken directly from Nineteen Eighty-Four (1984). There are metaphors everywhere in Pleasantville (1998).
There is really good acting found, all around, in Pleasantville (1998). Jeff Daniels, as the owner of the local ice cream shop and William H. Macy, as George Parker, David's father, shine in their roles. The use of color or lack of color, is very good. The sporadic splashes of color, enhances beauty, by making beauty an actual thing in this simulated world. There are some things, that aren't explained, like why would a Pleasantville resident know the names of different colors in this b/w world? That tactic in the plot, makes the idea of colors a mystical, mythological thing, for the townspeople of Pleasantville. It makes things more mysterious for us too. The red rose makes its appearance, stating that, love turns the first corner. The fire turns the next corner. The kids start to become godlike to some. David is able to fill in missing pages of books which creates this passion to save the Pleasantville universe. Pleasantville (1998), is a fun film, that teaches a lesson about the dangers of ethics-policing, by cleverly and strategically dancing around the issue.
PMTM Grade: A- (8.9) = 9 IMDB.
Licence to Kill (1989)
Dalton Bond Attempt #2
In Timothy Dalton's, second-outing as 007, License to Kill (1989), James Bond takes a break from the British secret-service, in order to avenge the murder of a friend. Bond has his license to-kill revoked by M (Robert Brown), which forces James to go rogue, as payback for the near-murder of CIA agent, Felix Leiter (David Hedison). David Hedison, was the only actor in Bond history to play Felix Leiter more than once, until the record was broken, with the new Daniel Craig movies, with Jeffrey Wright setting the new record at three, in No Time To Die (2021). License to Kill (1989), is the second Dalton/Bond film and one of the more, disappointing Bond films from the 1980s, however it does have a few positive moments. Director Jon Glen did a bunch of these films, by the time we got to this point. He directed a lot of Roger Moore's Bond films too. A big killer for the loss in quality in License to Kill (1989), is music-composer legend, John Barry, is missing from this film. A new composer, Michael Kamen, was brought in for this film. You can see how much the producers wanted to steer this film into a different direction.
What's interesting about License to Kill (1989), is its need to be a non-British spy mission for Bond. James ends up getting pulled into the after-effects of one of Felix Leiter's, American drug-cartel cases in the Florida Keys. This change in direction for Bond, which is a departure from what you are used to in 007 movies, creates an aura, that feels, almost, anti-Bond. License to Kill (1989), still tries to hit upon all the Bond tropes, but fails, because of all the unfamiliar territory the producers try to explore. I do like Timothy Dalton as Bond though, however he could have been any spy in this film. My favorite, pre-Bond moment from Timothy Dalton's career, came when he was cast as Prince Barin in the science-fiction classic, Flash Gordon (1980). The writers for License to Kill (1989), do try to keep the one-line jokes in the film, that the Roger Moore films made famous and they also try to utilize the sophisticated brutality of the Sean Connery films. The producers wanted to take this film to a darker place and the PG-13 rating, allowed them to have extra violence, which includes shark attacks and an exploding head in a pressure tank.
Desmond Llewellyn, returns as Q, for his 14th Bond film. He wasn't in Dr No (1962), but did all of the Bond films, since From Russia With Love (1963). In License to Kill (1989), Q pretends to be James' uncle and his age shows, how his character has grown from a cranky, middle-age guy, who's always annoyed with Bond, to an elderly, uncle type-of figurehead for James. The bond (pun intended), between 007 and Q, grew during the Roger Moore years. In fact, there is a strong feeling of family between the legacy-characters in License to Kill (1989), especially between James and Q, but also between James, Felix and his bride, Della Churchill, played by Priscilla Barnes (Terri from Three's Company, 1977-1984). Unfortunately, legacy-actress, Lois Maxwell, as Miss Moneypenney, left the series along with Roger Moore and was replaced, with the bland, Caroline Bliss, for the Dalton films. Robert Brown had been doing the role of M, since Octopussy (1983). The bad-guy for this film, comes in the form of Mexican drug-lord, Franz Sanchez (Robert Davi), who is the architect of Felix's near-death experience. It is the brutality of Sanchez's methods, that really draws the ire of Bond. One of Sanchez's minions is played by a very young Benicio del Toro. Cary-Hiroyuki Tagawa, who was best-known as, Shang Tsung, in the classic martial-arts, video-game movie, Mortal Kombat (1995), plays an undercover Chinese operative from the Hong Kong narcotics police.
License to Kill (1989), clocks in at 133 minutes, which ends up making the film a little too long. In some parts of the story, things are slow. The actresses picked as Bond women are bland and slightly boring. The sexual connection between James and his love-interests, feel lifeless and not believable at all. They act like high school girls, who can't handle their espionage jobs very well. License to Kill (1989), really starts to get weird when Wayne Newton shows up, toting a fake religious charity (Alympetec Meditation Institute), a scam organization, that's stealing its followers, of all their money. It's just another weird plot-point, that this film, aimlessly continues to follow. It also doesn't help, that License to Kill (1989), came out seven months after the Leslie Nielson-driven film, the Naked Gun: From the Files of Police Squad! (1988), because this Bond film, in some ways, resembled the Frank Drebin film. The final chase scene in License to Kill (1989), is pretty cool though and the late-1980s pyro-techniques are cool, with some neat explosions.
PMTM Grade: D+ (6.3) = 6 IMDB.
Tank (1984)
Tanks For the Memories
James Garner plays an aging Army soldier, named Sergeant-Major Zack Carey. He has to rescue his son Billy (C. Thomas Howell), from a corrupt, southern sheriff, named Sheriff Buelton (G. D. Spradlin). Buelton is enraged at Zack, because Zack beat-up one of the Sheriff's sleazy deputies, because the deputy (James Cromwell), beat-up a call-girl named Sarah (Jenilee Harrison). To get back at Zack, Buelton takes Billy into custody, using fake-drug charges and puts him in his prison. It's a good thing Zack has access to a Tank (1984), because it's time to break his kid out of jail. Also, beware, Tank (1984), is a much more, mature film, for a PG rating, however it was 1984. 1984 was the year, that the PG-13 rating was created, but Tank (1984), made it in before the change.
James Garner was dealing with a career, that was starting to plateau. He was heading towards 60 and the roles were becoming television-heavy. He was still a big star, which is probably why he got the starring role in this film. After this, he would become more of a supporting actor in movies, sequel TV-movies of the Rockford Files (1974-1980), and other TV shows. I will say this, Jenilee Harrison works better in dramas than she did in comedies. She seemed to fit into her role as Jamie Ewing, on the TV series Dallas (1978-1991), much better than she did in her comedy role, as Cindy Snow, on Three's Company (1977-1984). Tank (1984), is supposed to be a comedy and all through the film, I was wondering where all the laughs were. Tank (1984), is boring and has many silly moments. Tank (1984), begins to get so silly, that it reminded me of a twisted cross, between the Apple Dumpling Gang (1975) and Smokey and the Bandit (1977).
PMTM Grade: F+ (4.0) = 4 IMDB.
Yesterday's Hero (1979)
When Disco and Soccer Collide
A famous singer (Suzanne Somers), and an aging pro soccer player (Ian McShane), who hooked-up years before, find themselves crossing paths again, in England, in this drama, that has a hard time getting started, but ends up being good enough, for an "E For Effort". Somers gets top billing in Yesterday's Hero (1979). Somers' Cloudy Martin, is one-half of a pop-music duo, known as Martin and Simon (Paul Nicholas). In the real world, I guess, they are like the Captain and Tennille, type-of, late-1970s pop music. The soundtrack is very disco driven. The way their performances are presented in the film, look very much like performances from television hits like, the Sonny & Cher Comedy Hour (1971-1974) and Donny and Marie (1976-1979). The music in Yesterday's Hero (1979), is pretty bad. Suzanne isn't a convincing singer, however it definitely sounds like her. It's not dubbed.
Yesterday's Hero (1979), is a British production, that was distributed by Columbia Pictures. The low budget used for the film, which is obviously visible in this production, unintentionally, but positively, gives the film some realism and a grittiness, that produces a fairly cool, 1970s-style to it. Unfortunately, I could only find a VHS, 4:3 version of the film, which also looked squeezed. I am hoping, the day I stumble across Yesterday's Hero (1979) again, next time, hopefully, I can watch a new HD version of it. It may improve the grade, that I gave the film. The muddy VHS quality was a rough watch. This film feels like a hallmark, lifetime type of movie, but it was released before cable networks were a thing. Even though it has a PG rating, there is an evident TV-movie effect going on. The film was directed by Neil Leifer.
Yesterday's Hero (1979), is a mix of staged singing sequences, interwoven between a soccer practice or game. Ian McShane plays Rod Turner, who among, the other things I mentioned, is also a drunk. It's good that he runs into Cloudy and Simon, because they decide to help Rod, make a comeback in pro soccer. The TV-movie aura felt in the film, is reenforced by acting lines, that felt like they were written for TV and not written, for a theatrical film. This was an era when they still said, "let's make love", on television, instead of "let's have sex". Yesterday's Hero (1979), is kind of lame, but it still deserves an E for Effort. The plot begins to feel like, its coming out of control and it has an abrupt ending. I'm talking quick. There are some funny moments, like seeing Ian McShane load 15 kids into a 1970s, European station wagon, which looks like a tank, because he teaches soccer to kids, but transportation was somewhat cheap. In the final credits it says, Suzanne Somers' wardrobe - from her closet.
PMTM Grade: E+ (5.2) = 5 IMDB.
Law and Disorder (1974)
Archie and Quinton: What Could Go Wrong?
Carroll O'Connor and Ernest Borgnine were two of the biggest stars in 1974. Even though Borgnine was ever-enshrined as Lt. Commander Quinton McHale, on his hugely successful TV sitcom, McHale's Navy (1962-1966), since then, he had been more prevalent and busy, with his successful film career up to this point, with huge film hits like the Dirty Dozen (1967), the Wild Bunch (1969), and the Poseidon Adventure (1972). O'Connor was, of course, enjoying the success of his hugely popular TV sitcom, All in the Family (1971-1979), that was beginning its season five, when Law and Disorder (1974), was released in theaters. This film utilized those popular aspects, that made these two guys famous, especially Archie's parenting/husband skills and McHale's ability, to lead miscreants into battle. They also are synonymous with comedy, so Law and Disorder (1974), immediately establishes itself as a comedy-drama, about two New York City guys, Cy, the hair-stylist (Borgnine) and Willie, the cabdriver (O'Connor).
Ann Wedgeworth plays O'Connor's wife, Sally. Karen Black plays Gloria, who works with Cy at the hair salon. She's nuts in this movie. Unfortunately, her character felt a little bit over-the-top, but if crazy is what the director, Ivan Passer wanted, he got that successfully. Alan Arbus has a small role in the film too. He's most famous for being Dr. Sydney Freeman on the highly successful TV-Sitcom, M*A*S*H (1972-1983). He plays a psychologist in Law and Disorder (1974), which is, almost, the same occupation as Dr. Freeman, already in his reoccurring, third season on M*A*S*H (1972-1983). Law and Disorder (1974), is a dark-comedy, with a hodgepodge of interesting characters, not really attempting to get you to like them, so don't look for anything, like character appreciation or vicarious inspiration. They are just trying to live their lives in the urban streets of 1970s New York.
After a slew of clever robberies, home-invasions, as well as, an old trench-coat flasher, the people of this New York City neighborhood, ask to join the civilian-led, Police Auxiliary Force, in order to help enforce the laws. Alan Arbus' Dr. Richter, has to teach a class-lecture on rape, to the new Police Auxiliary Force recruits. It's a comedy crime-drama, with a lot of 1970s street-talk. Being as it is the early 1970s, with a story about out-of-control, street crime, Law and Disorder (1974), does have sign-of-the-times humor and situations, that may be too intense for some sensitive, 21st century viewers. It is after all, rated-R for a reason, so keep the kids out of the room when watching this film. As Cy and Willie get their squad together, the film begins to resemble Police Academy (1984), which makes both men think, they may have made a huge mistake with this idea. But, despite that, they push along. The film starts to turn a little dramatic and dark in the last third of the story, with an ending I wasn't expecting.
PMTM Grade: 6.7 (C-) = 7 IMDB.
The Heartbreak Kid (1972)
When a Man Removes His Rose-Colored Glasses
The Heartbreak Kid (1972), is a story about the confusion and emotional trappings, of a young man named Lenny Cantrow, played by Charles Grodin, who's not sure if he made the right marital choice with his new wife, Lila (Jeannie Berlin). Than, add in the appearance of beautiful blonde, Kelly Corcoran (Cybill Shepherd), and things get even tougher for Lenny. Kelly's parents are played by Audra Lindley (Mrs. Roper from Three's Company, 1977-1984), and Eddie Albert (Green Acres, 1965-1971), who knows this whole thing between his daughter and Lenny, is a bad idea. Both Eddie Albert and Jeannie Berlin, were nominated for Best Supporting Oscars for the Heartbreak Kid (1972), so you can see this film has Academy Award exposure, especially in the acting category, which is done well in this film. We also have an early Doris Roberts sighting. Audra Lindley's, Mrs. Corcoran, is the complete opposite character from what her Helen Roper character was on the hit TV series.
Things get strange for Lenny, as his honeymoon with Lila begins and during their drive down old route 13, on their way to Miami, he begins to realize his novelesque marriage, is less fairytale and more real-world, than anything else. Overnight, Lenny sees his new bride, change from sexy wife to human being, along with all the gross stuff humans do. She gets food all over her face. She becomes annoying to him, while talking rather silly. She sunburns herself. She's sweaty, with creams all over her, fighting with her uncontrollable hair, etc. It is quite a good performance for Berlin. She deserved the Oscar nod. After all the human moments with Lila, Lenny's feeble brain begins to break down and then he runs into college hottie, Kelly. It would be the best three days of his life, not spent with his wife. Nobody in Kelly's family likes Lenny and it's made abundantly clear by her father, early on in the film. Albert earned his Oscar nod too.
For a rom-com inspired film, the Heartbreak Kid (1972), is shot really well and in a stylish type-of way. Director Elaine May, during the beach scenes, utilizes the camera lens to show the brightness of the sun on the beach. Grodin having a conversation with a sun-saturated Shepherd, from a low-angle, shows the brightness of the sun on the beach and the chaos beginning to take over his confused mind. It is a convincingly good performance by Grodin in this film, although he still radiates an aura, that he is not a young man, but more in his late-30s. He always had that older-look to him. I never felt "young" coming from the screen. The scene where he pretends to be from the Department of Justice Bureau of Narcotics, is classic Grodin though. Something he would master sixteen years later in Midnight Run (1988). It's his performance, that increases the pay-off in this film. Heartbreak Kid (1972), is a comedy, that makes you pull for the bad-guy, in this case, the scoundrel, cheating husband.
PMTM Grade: 7.3 (C+) = 7 IMDB.
Saut à la couverte (1896)
The Sequel To Jumping the Blanket (1895)
Saut à La Couverte (1896), is in the Lumiere Catalogue as #192. Some mistake this film for the Lumiere's 1895 debut classic, Le Saut à la Couverture (Jumping the Blanket - 1895). The Lumiere brothers create one of the first film remakes in film history. This approach to filmmaking was actually a common practice by the Lumieres. While the years went by, It gave them a way to continue to hone their filmmaking craft. They reshot a lot of their earlier films, including their famous, Arrival of a Train (1895). That film was remade, reshot or redone, at least three or four times, between 1896-1898. The brothers felt, that if a film did well the first time, why not improve upon it a second time and maybe generate twice as much capital, that the first film did. They in essence, invented the remake, during the first full year (1896), of the world's motion picture industry.
Being a remake of Jumping a Blanket (1895), Saut à La Couverte (1896), is also known in English, as Jump To Cover (1896). This time, the Lumieres reshot a large group of soldiers, throwing another man about, in a giant blanket. It isn't totally a remake, because in Jumping a Blanket (1895), there only were eight guys total in it. There are a lot more soldiers in Saut à La Couverte (1896). In the 1895 film, they look like they are attempting fire drills, while this film looks more like a circus act. Saut à La Couverte (1896), could be considered a possible sequel to Jumping the Blanket (1895), as well, because it looks more organized then the original film and they actually look like they had some training, before this film was shot. You could say, they got better for the sequel. This is still a pivotal moment in film history, brought to you by those French film pioneers, who started it all.
PMTM Grade: 7.3 (C) = 7 IMDB.
Voltige (1896)
When a Guy in 1896 Complained About Too Many Remakes of 1895 Movies
The Lumiere brothers create one of the first film remakes in film history. This was actually a common practice by the Lumieres, while the years went by. It gave them a way to continue to hone their filmmaking craft. They reshot a lot of their earlier films, included their famous, Arrival of a Train (1895). That film was remade, reshot or redone, at least two or three times, between 1896-1898. They felt, if it did good the first time, why not improve upon it this time and maybe generate twice as much capital as the first time. They in essence invented the remake, during the first full year (1896), of motion pictures.
Voltige (1896), also known in English as, Aerobatics (1896), is a remake of their 1895 film, La Voltige (1895), which is also known as Horse Trick Riders (1895). The Lumieres reshot a group of acrobatics, actually soldiers, jumping onto a horse, with various forms of landing. Voltige (1896), could be considered a possible sequel too, because the acrobatic soldiers in this film, actually look like they practiced their routine and had some training, before this film was shot. The group in the original 1895 film seemed a little bit more amateurish and sloppy with their act. You could say, they got better for the sequel. This is still a pivotal moment in film history, brought to you by those film pioneers, who started it all.
PMTM Grade: 8.3 (B) = 8 IMDB.
Bullitt (1968)
Ford Mustang vs Dodge Charger
Bullitt (1968), brings back together Steve McQueen and Robert Vaughn again, eight years after the Magnificent Seven (1960), as two characters, who are on the same side of the law, but have different endgames in mind. Bullitt (1968), is a cool movie, with the coolest car in it and even though this film came out in 1968, it gives off a gritty, dark look, towards that cool, 1970s Hollywood motion-picture feeling, that was on the horizon. Remember, 1968 was the last year before the MPAA ratings began to come into use in movie theaters. In fact, it's fairly possible, that Bullitt (1968), came out during that gray period, between the launch of the MPAA and the non-MPAA era, because McQueen has got to be the first guy, ever in film history, to mutter the "BS" word in a theatrical movie. Remember, It's only 1968.
This crime-drama, high-energy film, made at the start of the modern-era of film, has McQueen's Detective Frank Bullitt, trying to hunt down the killer of an informant, that was in his protection at the time of the murder. The film involves the backdrop of the San Francisco hills, along with a great soundtrack by composer Lalo Schifrin. Bullitt's love-interest is Jacqueline Bisset as Cathy. Norman Fell plays McQueen's boss Captain Baker, who is no help to him at all, as he sides with Vaughn's Walter Chalmers, every time. The organization involved with the murder eventually come after Frank, who drives a Ford Mustang, with their own hitman, plus a driver in a black Dodge Charger.
Bullitt (1968), is most-known for having one of the best car-chase scenes in film history. It amazes me, that the producers of this movie, got the proper clearances to shoot these scenes on the streets, in town (San Francisco), back in the 1960s. The insurance guys on the set had to be on-edge the whole time. I wonder what the insurance rules were for 1968 Hollywood productions? However, the chase eventually heads outside the city and the highway they are driving on looked like it could have been under construction. Bullitt (1968), director, Peter Yates, uses great camera shots, angles and also directs an excellent example of a thrill-ride of filmmaking and cinematographic sequences. The use of mirrors and reflections, is utilized well and makes Bullitt (1968), very cool.
PMTM Grade: 8.7 (B+) = 8 IMDB.
The Fantastic Four (1994)
Too Soon, Too Cheap
I am so happy, that the Fantastic Four (1994), exists. It is a prime example of the trials and tribulations, experienced by film companies, in order to make a Marvel film in the 1990s. The first theatrical film (it never was released, but was completely intended to be a theatrical film and did make it, to a few science-fiction festivals, but was mostly relegated to bootleg VHS copies at sci-fi conventions everywhere), about Marvel's first-family in comics, the Fantastic Four. A group of cosmically super-powered heroes, named Mr. Fantastic, Invisible Woman, the Thing and the Human Torch. It is the type of film, that needs to be produced by a huge film corporation, with a big-budget tied to it, for success and not, the amount of money to buy a Fiat, which Fantastic Four (1994), ended up being. It was an embarrassing moment in film history. The antagonistic foil of the Fantastic Four is their main enemy from the comics, Doctor Doom (Joseph Culp).
The Fantastic Four (1994), definitely got its inspiration, for the character of Doom's henchman, the Jeweler and his hoard of criminals, from the Penguin's entourage, seen in Batman Returns (1991). They even try to mimic Danny Elfman's soundtrack, rather awfully in this film. The plot of Fantastic Four (1994), goes off on odd tangents throughout the film, especially in all those sequences, that seemed to be separate from the main storyline, involving Doctor Doom's minions. I also saw some rip-off soundtrack influence, from the James Bond movies, which utilized inspiration from the great film music composer, John Barry. Fantastic Four (1994), is a perfect example of why you have to have money, in order to make a successful movie, let alone a superhero movie. Roger Corman produced this film, with his New Horizons Productions and patsy film-director, Oley Sassone and his crew, were left behind to finish this mess. You can't force a low budget superhero movie, even if you are Roger Corman. I still recommend seeing this film, because it has heart, drive and potential, that unfortunately falls flat. It is definitely required viewing for Marvel fans, mostly as a curiosity piece. Fantastic Four (1994), is an interesting, lost moment in film-history and to a degree, a huge lesson to filmmakers everywhere, what not to do.
PMTM Grade: 3.9 (F+) = 4 IMDB.
Frankenstein Meets the Spacemonster (1965)
Martians - 8, Plan - 9
Frankenstein Meets the Spacemonster (1965), is a low-budget, science-fiction film, that's got a rockin' soundtrack, but awful make-up and the costumes are atrocious too. We will get to the bad acting later. The bad costuming is especially evident on Lou Cutell, who plays the nefarious Dr. Nadir. Also, in the cast, is Bruce Glover, as an uncredited alien and another, bad make-up job. The film also stars James Karen as our main, leading character, Dr. Adam Steele. Steele has created an android, named Frank (get it? Frankenstein), who's space capsule is shot down by Martians, who are invading Earth, to replenish their decimated female population. Being as it was 1965, the film industry was knee-deep in beach-party movies. Those types of movies were red-hot, due to the popularity of Frankie Avalon and Annette Funicello's beach movies. So obviously, Frankenstein Meets the Spacemonster (1965), cashes in on that trend, with Dr. Steele running around Puerto Rico, trying to track down his malfunctioning, rampaging robot and the Martians, having their own, beach blanket bingo, while kidnapping women.
The space-suits the aliens wear, look like rejected, old, astronaut suits, that were stolen from NASA. The way Frankenstein Meets the Spacemonster (1965), is presented, has the set-pieces looking like a bunch of rich, college-kids, with connections to NASA, decided to make a movie. Marilyn Hanold, who performs as the alien princess, Marcuzan and Dr. Nadir, both look like they are hosting a really bad, TV shopping network, on a set, that's supposed to be an alien spacecraft. There is an awkward, seriously out-of-place, romantic, motor-scooter ride, between Steele (James Karen) and his assistant/girlfriend Karen Grant (Nancy Marshall), through Puerto Rico, which actually looks like, it was just hit by a hurricane. The scene is basically crafted for the song, that is playing in the background. Another nod to the low-budget feeling in Frankenstein Meets the Spacemonster (1965), is the over-abundant use of stock-footage. It looks like director Robert Gaffney, got his hands on a lot of aviation films and NASA stock-footage.
The acting in Frankenstein Meets the Spacemonster (1965), is terrible and the directing is juvenile. All of the characters, who get kidnapped by the aliens, put-up no fight at all and actually look like, they are content with their situation. They really could care-less about the fact, that they are being kidnapped for use as sex-slaves. They just quietly get in the menacing spaceship. There is no mention in the story, that anyone has mind-control or anything. The kidnapped extras show no fear or danger, unless they are part of the main cast. Director Gaffney saves all the acting for the main cast and the rest are empty extras. The directing miscues are dizzying in Frankenstein Meets the Spacemonster (1965). It was nice seeing this film in its original, theatrical aspect ratio on the streaming service I found it on and not a cheap, 4:3 TV or VHS version. With the new, restored, remastered, widescreen version, available today, Frankenstein Meets the Spacemonster (1965), looks more like a a polished, Plan 9 From Outer Space (1957), which I actually like more than this film.
PMTM Grade: 3.1 (F-) = 4 IMDB.
Gojira tai Megaro (1973)
Seatopia Makes a Bad Fashion Statement
I've probably seen Godzilla vs Megalon (1973), over 20 times in my life. I am a huge fan of these films. The good and the bad, but in times of need, I've been able to turn off my unbiased-button, in order to look at these in a straight-forward, critical way too. I've been watching the Showa Era series, steadily, since the 1970s, so I was used to seeing it in 4:3 all the time. Godzilla vs Megalon (1973), is much better in its original, theatrical, widescreen format, which includes, the Japanese language with English subtitles, available today and it looks great in the new 1080p restoration. This is not saying much towards the overall film, but you should compare the two (SD VHS 4:3 and 4K Blu-ray), someday and you'll see what I mean. Godzilla vs Megalon (1973), is not the worst Godzilla movie ever made, but it was the lowest point of the 1970s era, of Toho's, kaiju series. That's not saying much, considering the 1970s were brutal for Godzilla, across the board.
This era of Gojira was a rough-ride for the lizard-king. It moved the character towards a more kid-friendly, comedic, silly direction, that turned a force of nature into a giant boxing kangaroo. Godzilla vs Megalon (1973), also was the third film, out of the last four films, in the series, which had a kid as the main character, thus playing-up the kid-friendly angle of the film. It made perfect sense, that this was happening though. The creator of Gojira, Eiji Tsuburaya, had since passed away, but before he left, he had set-up Tsuburaya Productions, who was churning out, one of his other, great creations, Ultraman, at an incredible rate of episodes, per year, by the time we got to 1973. On top of that, there were tons of copy-cat, Ultraman shows, out there on Japanese TVs, playing all the time. This of course, influenced the Godzilla films to a degree, which explains his tag-team partner in Godzilla vs Megalon (1973), as the colorful robot, named Jet Jaguar.
Another obstacle Godzilla vs Megalon (1973), had to get through, that impeded its success, was the fact, that at the same time, an embattled, bankrupting, Japanese film industry, was feeling the pain and Toho had to slash budgets on their films, which really is felt in this film. This was the era of stock footage galore, with footage reused from numerous Godzilla movies, going all the way back to 1962. Even, as far back as, King King vs Godzilla (1962). In fact, they even took stock-footage from non-Gojira films. When Megalon goes behind the trees, while the military is shooting their death-rays at him, the shot of him dodging the rays from behind the trees, was taken from either, Frankenstein vs Baragon (1965) or the War of the Gargantuas (1966). I'm not sure which one, but it was one of those. All the stock-footage was used in the military gathering scenes, monsters destroying the city scenes and, parts of the fight-scenes with the monsters. The shot with Megalon's lasers blowing up the Mobile gas-station, weren't even his lasers. They were stock-footage shots of King Ghidorah's lasers, from about eight movies back. Budget-cuts always kill a movie.
There also is a question if these films really were intended for kids. There is enough in Godzilla vs Megalon (1973), that earned the film a PG rating in the U. S. and I'm pretty sure I saw an old poster, that had an R-rating on it, for somewhere in the world. You can clearly see why in the new, improved, restored, Japanese versions, that you can stream on Max or Tubi, currently today. So, don't be fooled. Godzilla vs Megalon (1973), is not really for kids, with a PG-rating for language, violence and some magazine nudity, plus there's even smoking. There is a scene depicting our good-guys, Roku and Hiroshi, breaking back into their house, so they can stop the bad-guys (operatives of the subterranean culture, known as Seatopia), and regain control of Jet Jaguar. They use a toy plane and fly it into the face of one of the saboteurs. He grabs his head with a glob of fake blood in his hand. Another guy gets thrown out of a truck, that has Playboy centerfolds taped to the back of the cab and he rolls down a cliff. Finally, another bad-guy, gets crushed by a huge rock. By the way, all of these scenes were deleted from the original American version, that was shown in the 1970s and all through their VHS releases, seen in the 1980s and 1990s. I think people think these films are for kids, because non-nerds think we are all 15 year-old kids. That is fine, but beware of false claims on target-audiences.
There are other miscues in Godzilla vs Megalon (1973). Things like, audio sound effect mistakes, like squealing tires on dirt roads. There is a scene were Godzilla is running, Keystone Cop-style. The final fight scene is one of the worst ever. It has the famous Godzilla scene, with him flying through the air (he actually makes a turn), with a drop-kick blow into Megalon, while Jet Jaguar secures the evil monster. Jet Jaguar and Gojira actually having, what looks like, a conversation, also enhances the silliness. It is pretty brutal. It isn't all bad news for Godzilla vs Megalon (1973). There is a cool contrast between the colors of Jet Jaguar's suit and the choice of colors, that inventor Goro (Godzilla legacy-actor, Katsuhiko Sasaki), and his friend Hiroshi, use for their cars. There also is a half-decent car-chase and Megalon attacking a dam is kind of cool too. For really big laughs, watch the English dubbed version. Then compare it to the Japanese version. Even though, I give Godzilla vs Megalon (1973), a Failed grade, I still recommend seeing it, because you have to see it to believe it. Then forget about it and enjoy the rest of the Gojira, kaiju, Showa-Era of films, by the great Toho Studios. Plus, it's a film series, so you have to watch it.
PMTM Grade: 3.8 (F+) = 4 IMDB.
Jonah Hex (2010)
Have You Heard Of Jonah Hex
We open up Jonah Hex (2010), with a positive. We are handed a story, based on an obscure, early-1970s comic book, that combines the great traditions of the western film, with the supernatural forces of the undead. The character of Jonah Hex has been a steady mainstay in the DC/Vertigo comics-line, since the 1970s, but is considered, almost totally, unknown to those outside comic book circles, so every time I mention the movie to other people, I usually hear, "Jonah who"? So, being a "retired" comic book fan myself, I too only saw a tiny sliver of the Jonah Hex mythos in the comics. I possibly read one issue back in the 1970s and the response I had towards it, harbored on Jonah Hex being a neat idea for a character, but it was poorly executed, to the point of being silly. I felt, even before I reached my teenage years, that Jonah Hex seemed a little ridiculous and would be a character, that wouldn't be around much longer. We now flash to 2010 and we have a blockbuster, Hollywood movie, starring Josh Brolin, John Malkovich, Megan Fox and Michael Fassbender. This is a chance for DC, to make the character of Jonah Hex popular again. John Malkovich, the bad guy, has constructed a huge canon, that he plans on using on Washington DC, during the 100th anniversary celebration of America. This is were the fun ends. The way Jonah Hex (2010), is executed, further shows the problems with this character.
Both Josh Brolin and John Malkovich, look like they are just claiming a paycheck. Megan Fox winds-up being a useless character in this film. It is a total waste of all three of their talents. We do have a Tom Wopat sighting, which was interesting. It wouldn't be a silly western, without Luke Duke from the Dukes of Hazzard (1979-1985). There also is Will Arnett, who plays a smarmy, union officer, who is just as plastic, as the other characters in the film. None of the characters are likeable. The most interesting and likeable characters in the whole film, are Hex's two partners, his dog and his horse. Yes, unfortunately, other than the dog, the horse, looking at Megan Fox and an interesting character-idea for a film, the rest of Jonah Hex (2010), contains bad editing, poor structure and god-awful music. There are moments in the film where our director, Jimmy Hayward, tries to intercut different realities, with the current reality in the story, to depict the torment in Hex's soul. It is a filmmaking device, used to increase the tension of the scene, which in this case, turns-out to be, a silly and distracting device. Jonah Hex (2010), is a bad, silly, ridiculous moment in film history. It only shows, that a bad comic book was made into a bad movie. I will say this though. Since, Jonah Hex (2010), was released in theaters, almost 15 years ago, the character of Jonah Hex has seen better days, with his film/television exposure. He was used successfully, a couple of times, in the Arrow-verse shows on the CW. He also has made a few, positive appearances, in DC's new, animated movies, that Warner Brothers streams on Max. As for Jonah Hex (2010), the only reason I didn't give it an Unwatchable rating and settled for an "F"-rating was, that other than the few reasons mentioned earlier, is the fact, that Hollywood does have the special effects thing nailed down. One other saving grace, is Jonah Hex (2010), is only 80 minutes long.
PMTM Grade: 3.8 (F+) = 4 IMDB.