Posts Tagged “Mystery”

1958

Netflix DVD
USA
English
129 Minutes — May 28, 1958
Crime / Mystery / Romance / Thriller
Alfred Hitchcock [The 39 Steps; The Lady Vanishes; Rebecca; Notorious; Rear Window; To Catch A Thief; North By Northwest; Psycho; The Birds; Frenzy]

#2 They Shoot Pictures Don’t They Top 1000 Films Of All Time

A detective with a fear of heights is drawn into a complex plot in which a girl he loves apparently falls to her death. Then he meets her double.

“Double identity thriller which has many sequences in Hitchcock’s best style. A film as unsettling as the phobia it deals with, keeping its audience dizzy and off balance throughout.” — **** — Halliwell’s.

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

James Stewart…John Scottie Ferguson
Kim Novack…Madeleine Elster
Barbara Bel Geddes…Midge Wood

The Top 10 films of all time (based on that holy list I love) goes: Kane, this film, Rules Of The Game, 2001, 8 1/2, Godfather, Searchers, Samurai, Singing In The Rain, Potemkin.

One of these things is not like the other. And that thing is VERTIGO. There is no way that VERTIGO is the second best film ever made. No way.

Stewart is his usual charming, natural self. Novack is wooden at best and terrible at worst. Bel Geddes is entirely charming as the BFF of Scottie who has real feelings for him.

Positives:

–Hitchcock took the most beautiful city in North America and made it look even more beautiful somehow. It makes me want to drive up to The City to find Scottie’s apartment right now.
–The give and take between Scottie and Midge is pretty great.
–The sexual obsession of Stewart is pretty strong for a film made in 1958. He essentially can’t get turned on unless his date is made into another woman for him.
–Novack is pretty hot, especially in either a white coat or a black dress.
–Colors and angles are all superb, as you’d expect from Hitchcock (who apparently never looked through the camera during filmmaking).

Negatives:

–They fell in love too easily.
–How did Scottie get off the ledge in the first scene?
–Way too much following of people.
–Stewart: 50 years old; Novack: 25 years old. Um, of course he’s attracted to her.

Scottie is recuperating from his brush with death after chasing a criminal over the rooftops of San Francisco. An old college friend (though clearly living in England) asks him to follow his wife who is apparently under the spell of or possessed by a woman who died long ago. Scottie follows her and she’s gorgeous and she’s troubled and she jumps into San Francisco Bay and he had to take her wet clothes off and put her in his bed, so naturally he believes he’s in love with her. And we are asked to believe it as well. Her possession and sadness cause her to do herself harm and he spends half an hour seeing her in every other blonde in San Francisco.

And he doesn’t realize that an attractive, artistic, intelligent woman is his for the asking. Plus, she’ll fix him dinner and pour him bourbon.

Fabulous San Francisco locations. Great music.

I mean, it doesn’t suck. It’s pretty good and it was probably a big deal when it came out. But why all the praise?

I was surprisingly disappointed.

8.5 IMDB (Number 45 All Time)

VERTIGO

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NOSFERATU, EINE SYMPHONIE DES GRAUENS
1922

Cinequest 21 San Jose Film Festival
Germany
Silent — Wurlitzer Organ Accompaniment by Dennis James
Fantasy / Horror / Mystery / Romance
F. W. Murnau [Sunrise: A Song Of Two Humans]

Film Number 103 Of All Time — They Shoot Pictures Don’t They Top 1000

OK, so it was made in 1922. It’s famous for being the first of the many vampire films. It’s campy and corny and silent. But was it fun to watch?

Absolutely. I was mostly worried about dozing off as it was my fourth film of the busy day. But seeing something that my great-grandparents might have seen, in a theater that my grandparents might have gone to as children, surrounded by a balcony full of fans ranging in age from about 8 to about 90, meant that it was an experience I’ll cherish forever.

Dennis James got sounds out of the mighty Wurlitzer that seemed to required five people to perform. He kept the pace and made us scared and happy and when a drummer appeared on screen, I’ll be damned if a snare drum didn’t sound from the right speaker in perfect syncopation. If you’ve never heard live accompaniment to a silent film before, get your ass out of your house and go to one. Even if you don’t like the film. It’ll be worth it.

The story was overacted and the special effects rudimentary, but again, it was filmed just after World War I, for god’s sake. Women and men alike seem to swoon, the bad guys are extra bad, the wacko mental patients extra mentally.

But I found it touched me–the darkness, the lust, the way the Count looked upon a drop of blood while licking his lips.

And my, oh my, to experience all of this in a double-decker full house like the California Theater. The title cards causing snickers and oohs and aahs. The “wow” factor of the Count levitating. The creepiness of a long boat ride. People were enthralled. I was one of them.

And I didn’t doze once.

8.1 IMDB

NOSFERATU

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MOTHER
2009

Cinequest 20
South Korea
Korean
128 Minutes
Crime / Drama / Mystery / Thriller
Joon-ho Bong [The Host]

The closing night film of Cinequest 20, was a film by Joon-ho Bong, who also directed the much-better HOST in 2006.

This is basically the story of a mother’s loyalty to her mentally-retarded son. I’ve read a bit about this film and the phrases that continually come up are “challenged,” “simpleton,” and “slow” which I dismiss. The boy in this story is a barely functioning retarded youth who hangs out with a small-time criminal who uses him for whatever bad idea he can think up. I have seen hundreds of filmed portrayals of mentally challenged characters and few dramas have asked me to believe as ludicrous a character as Do-joon who stares at people with his mouth open and answers questions in slow motion. He forgets events and activities the second they are finished. But when he needs to be, he appears to add IQ points instantly. I almost couldn’t get past him. But Hye-ja Kim, who plays the mother, kept me at least partially entertained.

As did director Joon-ho Bong, who may have created a terrible, long, and frustrating mystery, but who can’t possibly be accused of not having the technical skill to pull of beautiful scene after beautiful scene. In one, a police interrogator karate kicks the apple out of the son’s mouth. This had nothing to do with any of the other 127 minutes, but it sure looked awesome! The opening scene showed Mother dancing, with abandon, in a field for reasons that we hope will be made clear by the end, but in actuality never are. But it was still hilarious, stunningly beautiful, and strangely emotional to watch this actress look at the camera and dance as if no one was watching.

The film is full of such moments. A building is engulfed in flames off in the distance as Mother walks through some woods. An incredibly tense scene follows a gratuitous sex scene (nothing wrong with that), in which a spilled bottle of water and it’s resulting puddle make you hold your breath as it spreads toward the dangling fingers of the bad guy.

Plot-wise, not much there. Mother runs a herbal store and moonlights as an illegal acupuncturist. She lives with her 20something son, who would forget to feed himself if she wasn’t around. Son is hit-and-runned by rich guys in a Mercedes. Boy and Thug drive out to the golf course to confront them and end up in the police station where Mother bails Son out and gives out free samples of some sort of herbal drink. Later, after a night of drinking, Boy is accuses of killing a loose schoolgirl and then displaying her for the neighborhood to see. Mother begins an investigation to find the real killer, going so far as to enlist bad guys to beat confessions out of people.

After all, her son couldn’t have possibly done what he’s been accused of, right?

And on and on. For more than two hours. Once the “mystery” has been solved, we are still subjected to another 20 minutes of slow-paced often inexplicable scenes which seem to have no connection with the original story.

I am a huge fan of Asian cinema. I enjoyed The Host and most of the creepy Korean horror films of the past decade. But this one just sucked. I don’t care if it’s from an established and much-heralded director, if this had been made in the US, no one would be giving it a second glance. Somehow it garnered an 8.1 at IMDB and a not-terrible 6.9 at Metacritic. There’s no accounting for taste.

—–

The Cinequest Program Said:

Some secrets can only be uncovered by a determined force of nature…

For twenty years Cinequest has empowered the Maverick via innovation and discovery. It fits this tradition to close a milestone program with a Maverick moment that will truly electrify…and give you one of those special moments when you leave the theatre knowing you’ve discovered something very original, very powerful.

There are many forces of nature. Perhaps the most organic and committed force is that of a mother for her child. And this power and experience of motherhood carries a universal understanding, respect and community. What would you do if your child were accused of a brutal crime?

Mother delivers a breathtaking and hugely entertaining mystery, delving into the realms of truth within the shadow side of humanity.

When it comes to her mentally challenged adult son, Do-Joon, there is nothing this middle-aged matriarch won’t do. Her devotion is put to the ultimate test when a schoolgirl is found murdered and all signs point to Do-Joon as the killer. Denied help by the authorities, she sets out to prove her son’s innocence. Using her amateur sleuthing skills, she uncovers a host of unpleasant secrets among the tormented townspeople. As the quest deepens, the heroine’s own maternal instincts become increasingly blurred.

Rather than stun with shocking sequences, director Joon-ho Bong (director of the hit film The Host) emphasizes and amazes with detailed cinematography. Shots of open fields and mystifying landscape are equally dazzling and fundamental to the mother’s journey. While her eternal love for Do-Joon may come across as shameful and outrageous, the powerful performance of the matriarch overshadows all else on screen.

—–

8.1 IMDB
6.9 Metacritic

MADEO

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1947

June 18, 2009
TCM
USA
English / Cantonese
87 Minutes — June 9, 1948
Crime / Drama / Film-Noir / Mystery
Orson Welles [Citizen Kane; The Magnificent Ambersons; The Tragedy Of Othello: The Moor Of Venice; Touch Of Evil]
#418 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

A seaman becomes involved in the maritime wanderings of a crippled lawyer and his homicidal frustrated wife.

One of the lesser-beloved of Welles films. First things first. I am still flabbergasted when I see a 30s or 40s actress who is as beautiful as Rita Hayworth was here. For some reason, I don’t think actresses became sexy and beautiful until Sophia Loren or maybe Anita Ekberg or someone of that era, usually from Europe. Then I catch a glimpse of Grace Kelly and realize that I’m completely wrong. Rita Hayworth was breathtakingly beautiful. And married, though breaking up with, Welles at the time.

Because of its tone and the use of an attractive woman who knows more than we do, we know they’ll be some sort of double-cross, but we don’t know what. After seeing this, I’m still not sure who was doing what to whom and for what reason. But the ride was nice. Welles tries for an Irish accent, which isn’t particularly believable. There is a lawyer and a dicey assistant and a hall of mirrors scene at the end which has been copied dozens of times since. It was filmed on locations as the boat headed from Mexico up to San Francisco Bay.

See it to complete your Welles list or see it to see Rita Hayworth in extreme closeup while singing a nonsense song.

7.8 IMDB
** Halliwells

The Lady from Shanghai @ Amazon

THE LADY FROM SHANGHAI

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2008

Camera Cinema Club
USA
English
93 Minutes
Mystery
Jeffrey Goodman

There Comes A Time In Your Life When You Want To Be Exactly Who You Are.

6.1 IMDB

THE LAST LULLABY

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2008

January 21, 2009
Campbell CA — Camera 7
USA
English
104 Minutes — December 12, 2008
Drama / Mystery
John Patrick Shanley [Moonstruck; The January Man; Joe Versus The Volcano; Alive]

My overriding impression of DOUBT? Boring.

Streep, Hoffman, Adams. Great cast. But it’s just so slow moving and ponderous. And every time something important is about to happen, the wind blows or rain hits a windowpane or a tree branch crashes down in the courtyard. And then the music swells.

It’s 1964 in Brooklyn. Hoffman is a Catholic Priest (hazard alert). Streep is the principal of the attached school. Amy Adams is the naive, wide-eyed character that we’re supposed to chuckle at and then feel for. Adams thinks she sees Hoffman put a boy’s shirt back into his locker. This boy is the only black kid in a sea of white, which is the excuse Hoffman uses when confronted with the suspicion that he plied the boy with alcohol. But not just any alcohol, mind you; the holy communion wine, the very blood of Christ. Viola Davis plays the boy’s mother who is remarkably nonchalant about the accusation, preferring to hide her head in the sand until summer when her boy graduates.

Streep is on the warpath against Hoffman and the two play several loud, spittle-rattling scenes where they try to scare the other one into backing off. We know Streep is the humorless disciplinarian because we see her walking the aisles of the church scolding anyone slouching or whispering while the sermon is taking place. She strikes fear in the children and other nuns alike. She is a cartoon movie archetype along the lines of the guy in Lean On Me (I’m the HNIC, now), and every other film about school and an evil paddling headmaster.

Hoffman appears to be kind, he connects with the kids, he write sermons that don’t immediately cause his congregation to sleep. But what earthly reason does he have for taking such a shine to the young black boy? We have two choices: 1) he’s a closeted homosexual predator who can’t wait to add another notch on his priestly bedpost; OR 2) he’s a caring priest who ministers to his congregation. Which one do you think the film favors?

We aren’t given any reasons for the actions that the characters take. Except maybe Amy Adams. She sees something and she goes to her superior to discuss it. Fine. Streep makes it her mission to kick Hoffman out of the parish. We are only given hints about the characters’ pasts. Hoffman is apparently at his third church in a short period of time. With 2008 eyes, this is a warning sign. Not so much back in 1964. Streep’s character is a widow who has known life outside the convent, but now finds herself ruling one. She is probably the only non-virgin on the campus.

If there’s a well-rounded and nuanced character, it’s Viola Davis as the mother. The boy has an abusive father, the mother thinks that the boy is gay (although you can bet that word is never used by anyone in this film), and if the priest needs a little loving while he protects the boy from the racist bullies in the hallway, well then, that’s a small price to pay. Davis hits a “if my nose runs and I don’t wipe it during a crying scene I’ll get an Oscar just like Jane Fonda in Klute” move perfectly. Then when we’ve been sufficiently mezmerized by her dripping nose, she miraculously finds a kleenex, wipes herself, and heads off to work like nothing happened. The words that the two women say to each other in the Davis v. Streep walk-and-talk are pretty good. But then the whole scene is ruined by the “foreboding wind of doom” that causes several dozen leaves to press up against Streeps legs. God help us.

So let’s see, Streep thinks that the priest is guilty, Hoffman maintains his innocense, Adams is first sure one way, then the other, and Davis doesn’t really see the big deal either way. You see, they all have DOUBT about what happened. Adams’ doubt puts her on Hoffman’s side and Streep finds a way to keep her doubt at bay. So we all know what the dilema is.

Wait a second, I have an idea. Why doesn’t someone ask the kid what happened? He’s not five years old, he’s in 8th grade! Wouldn’t he be able to at least give an impression about what happened or didn’t happen in the vestry? Is he so in love with the Father that he’d lie under questioning? He’s the only other witness.

I just don’t get it. Any verbal fireworks this film had were more than countered by the clumsy staging, and hit-me-over-the-head symbolism. It saddens me to report that my favorite part of the film, the only point when I wasn’t near dozing, was the spectacular church choir and organ song played loudly over the credits. What a shame.

Oscar Nominations: Meryl Streep Actress; Philip Seymour Hoffman Supporting Actor;Amy Adams Supporting Actress; Viola Davis Supporting Actress; Adapted Screenplay John Patrick Shanley;

7.0 Metacritic
7.1 Critical Consensus
8.2 IMDB

Doubt (book) @ Amazon

DOUBT

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2008

December 30, 2008
Campbell CA — Camera 7
USA
English
159 Minutes — December 25, 2008
Drama / Fantasy / Mystery / Romance
David Fincher [Se7en; The Game; Fight Club; Zodiac]
Brad Pitt [Less Than Zero; Thelma & Louise; A River Runs Through It; Kalifornia; True Romance; Interview With The Vampire; Legends Of The Fall; Se7en; Twelve Monkeys; Sleepers; Seven Years In Tibet; Fight Club; Spy Game; Ocean’s Eleven; Troy; Ocean’s Twelve; Mr. & Mrs. Smith; Babel; The Assassination Of Jesse James By The Coward Robert Ford; Burn After Reading]

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THE CURIOUS CASE OF BENJAMIN BUTTON is the subject of Cinebanter Podcast Number 65. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:

• 00:00 Intro
• 00:32 THE CURIOUS CASE OF BENJAMIN BUTTON Discussion – Part 1
• Break
• 17:17 THE CURIOUS CASE OF BENJAMIN BUTTON Discussion – Part 2
• Break
• 33:20 To Sum It Up
• Break
• 34:18 The Last Five®
• Break
• 49:02 Listener Last Five (Aaron in Washington, DC)
• 1:03:07 Credits and Outtakes

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7.0 Metacritic
8.6 IMDB #74 All Time

The Curious Case of Benjamin Button @ Amazon

THE CURIOUS CASE OF BENJAMIN BUTTON

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2008

November 5, 2008
Campbell CA — Camera 7
USA
English
141 Minutes — October 31, 2008
Crime / Drama / Mystery
Clint Eastwood [Play Misty For Me; Dirty Harry; Magnum Force; The Outlaw Josey Wales; The Enforcer; Escape From Alcatraz; Sudden Impact; Heartbreak Ridge; Bird; The Rookie; Unforgiven; In The Line Of Fire; The Bridges Of Madison County; Absolute Power; Midnight In The Garden Of Good And Evil; Mystic River; Million Dollar Baby; Flags Of Our Fathers; Letters From Iwo Jima]
Angelina Jolie [Gia; Pushing Tin; The Bone Collector; Girl, Interrupted; Gone In Sixty Seconds; Mr. & Mrs. Smith]

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CHANGELING is the subject of Cinebanter Podcast Number 63. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:

• 00:00 Intro
• 00:32 CHANGELING Discussion – Part 1
• Break
• 16:12 CHANGELING Discussion – Part 2
• Break
• 33:12 To Sum It Up
• Break
• 33:58 The Last Five®
• 1:03:16 Credits and Outtake

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6.3 Metacritic
6.3 40 Critical Consensus
8.1 IMDB

Changeling @ Amazon

CHANGELING

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TELL NO ONE
2006

July 23, 2008
September 17, 2008
Campbell CA — Camera 7
France
French
125 Minutes — July 2, 2008
Crime / Drama / Mystery / Thriller
Guillaume Canet

Eight Years Ago, Alex’s Wife Was Murdered. Today…She E-mailed Him.

Can a murder-mystery be as spell-binding the second time? In this case, yes. Though there was a single plot point that I didn’t notice the first time, which I found to be illogical and impossible the second time. I promise you won’t notice it on the first viewing. Still one of my favorites of the year.

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TELL NO ONE is the subject of Cinebanter Podcast Number 56. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:
• 00:00 Intro
• 00:26 TELL NO ONE Discussion, Part 1
• Break
• 17:00 TELL NO ONE Discussion, Part 2
• Break
• 30:15 To Sum It Up
• Break
• 31:10 The Last Five®
• Break
• 53:45 Listener Feedback
• 1:01:30 Credits and Outtakes

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8.2 Metacritic
8.0 40 Critic Consensus
7.5 IMDB

Tell No One @ Amazon

TELL NO ONE

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2008

July 19, 2008
Campbell CA — Camera 7
USA
English / Cantonese
152 Minutes — July 18, 2008
Action / Crime / Drama / Mystery / Thriller
Christopher Nolan [Following; Memento; Batman Begins; The Prestige]

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The Dark Knight is the subject of Cinebanter Podcast Number 55. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:
• 00:00 Intro
• 00:32 THE DARK KNIGHT Discussion
• Break
• 25:22 To Sum It Up
• Break
• 25:48 The Last Five®
• Break
• 51:28 Listener Last Fives (Len in PA and Kate in VA)/Show Notes
• 1:05:46 Credits and Outtake

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Christian Bale [Empire Of The Sun; Henry V; Little Women; American Psycho; Captain Corelli’s Mandolin; Laurel Canyon; Batman Begins; The New World; The Prestige; I’m Not There]

Heath Ledger [10 Things I Hate About You; The Patriot; Monster’s Ball; Brokeback Mountain; Candy; I’m Not There]

Aaron Eckhart [In The Company Of Men; Your Friends & Neighbors; Any Given Sunday; Erin Brockovich; Nurse Betty; Thank You For Smoking]

Why So Serious?

8.2 Metacritic
9.2 IMDB #1

THE DARK KNIGHT

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1949

June 24, 2008
Netflix Criterion DVD
UK
English / German / Russian
104 Minutes
Film-Noir / Mystery / Thriller
Carol Reed [Oliver!]
#24 They Shoot Pictures Don’t They Top 1000 Films Of All Time

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The version of the list I used is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

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THE THIRD MAN is the subject of Cinebanter Podcast Number 54. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:
• 00:00 Intro
• 00:32 THE THIRD MAN Discussion
• Break
• 16:23 To Sum It Up
• Break
• 16:47 The Last Five®
• Break
• 25:36 Average Matt
• Break
• 32:10 Tassoula’s 5 Favorites from SIFF
• Break
• 49:29 Show Notes
• 51:56 Credits and Outtake

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An American pulp fiction writer goes to Vienna to meet an old friend and finds that he has disappeared in sinister circumstances.

An unintelligent but tenacious writer of Westerns arrives in post-war Vienna to join his old friend Harry Lime, who seems to have met with an accident…or has he?

Oscar Winner: Cinematography Robert Krasker
Oscar Nominee: Director Carol Reed, Editor Oswald Hafenrichter

#18 All Time Halliwell’s
#49 All Time IMDB
**** Halliwell’s
**** Ebert
**** Maltin
8.5 IMDB

THE THIRD MAN

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Written by Michael W. Cummins