A few reviews

[Zaharoff]

Deep Blue Sea - 1999 - 6/10



Scientists, searching for an Alzheimer’s cure, boost the intelligence of sharks.
Luckily, the sharks, who increasingly exhibit anger management issues, are penned in strong cages.
Well made horror outing, though by the numbers.
Meaning, I knew which humans would die – chomp, chomp – and which would live.
However, I got the dining order wrong. Boy, did I get that wrong!
As far as shark films go, this is one of the best. Compared with other sharkie flicks, this is an 8.
Youtube offers several entertaining fan commentaries.

[Zaharoff]

Swimming Pool - 2003 - 7/10



A writer accepts her publisher’s offer to use his home to rest and recharge.
Well and good, until the publisher’s assertive daughter appears.
Put off, somewhat, the writer chooses to stay, and watch. No, observe.
The daughter seems a free-spirited exhibitionist. Or is the show play acting?
Keep in mind, this is a writer taking in details, making notes.
A Noir tinged thriller, filmed under hot sun, with long stretches of bare flesh.
Multi-layered with a lot going on, though you have to be attentive.
One of François Ozon’s best films.

[Zaharoff]

O Lucky Man! - 1973 - 7/10



The continuing (mis)education of Mick Travis, following 1968’s If.
Mick, rising employee in the coffee conglomerate, dates the boss’s daughter and rises in status.
His roots remain working class, however, and he retains some 60’s optimism.
Whatever. Overlords and the empowered will find a way to exploit naiveté.
Bracing cynical film has aged, yet is more relevant each passing year.
The ranks of gullible Micks swell exponentially, eternal fall guys.
Messy film, more of moments than narrative. Overlong by an hour.
“If you've found the reason to live on and not to die you are a lucky man.”

[waffles]

Quote Originally Posted by Zaharoff

O Lucky Man! - 1973 - 7/10 The continuing (mis)education of Mick Travis, following 1968’s If. Mick, rising employee in the coffee conglomerate, dates the boss’s daughter and rises in status. His roots remain working class, however, and he retains some 60’s optimism. Whatever. Overlords and the empowered will find a way to exploit naiveté. Bracing cynical film has aged, yet is more relevant each passing year. The ranks of gullible Micks swell exponentially, eternal fall guys. Messy film, more of moments than narrative. Overlong by an hour. “If you've found the reason to live on and not to die you are a lucky man.”

This was my mother's favorite film. She loved Alan Price and the soundtrack was on repeat when I was little. Obviously, I didn't see it until I was an adult.

[Zaharoff]

Quote Originally Posted by waffles

O Lucky Man This was my mother's favorite film. She loved Alan Price and the soundtrack was on repeat when I was little. Obviously, I didn't see it until I was an adult.

Likewise the soundtrack. I still have it on vinyl.

[Robin Davies]

Quote Originally Posted by Zaharoff

O Lucky Man! - 1973 - 7/10

Contains one of the most disturbing shock moments I've ever seen in a movie.

[Zaharoff]

Dick Tracy - 1990 - 6/10



Tracy and cohorts take on Big Boy Caprice and his associates.
Distracting the sides are Tess Trueheart, the Kid, and Breathless Mahoney.
Eye-popping set design, amazing color scheme, blazing bullets.
All underwhelmed by a white bread script that serves Disney, rather than the comic strip.
The result is akin to a violent, live action cartoon. A triumph of style over meager substance.
The 90’s witnessed a lot of Pulp inspired movies. This was one of the first and one of the poorest.
Coulda, shoulda. I’ve watched this for years, floored by the photography, cringing at the “family values”.
Beatty OK, Pacino hamms it up, Madonna steals everything in sight.

[Zaharoff]

Dick Tracy: The Noir Edit

The 1990 film remains a powerful example of style over substance.
The set design, primary color scheme, makeup, songs, all top flight.
Story though? Originally meant for Disney, shifted to Touchstone as it was deemed too adult.
Nevertheless, this is still a cartoon.
Fanedit by Wakeupkeo intends to transform this into a Noir is intriguing, though I suspect Tracy harks back to gangster films of the 1930’s rather than post WWII Film Noir.
Straight off, the “look” of high contrast black and white is outstanding.



Using Miles Davis themes from “Elevator To The Gallows” darkens the mood immediately.
More would have been better, though I grasp dialogue interference.
The sound is a swaggering 5.1. Crank those bullet scenes, boys.
For all the trims and cuts, the narrative remains a problem.
This is a kiddee film. Violent, but aimed at juveniles.
Noir was always aimed at adults, with hard boiled themes.



The Kid is insufferable. Al Pacino’s Big Boy is a ranting buffoon.
Blame the source, not the faneditor.
This is a good, alternative view, of a disappointing movie.

Afterthought. There is an actual Noir story buried in Dick Tracy, although one would have to subvert the original pitch.
This would run about an hour, jettison the Kid, many of the goons, Tracy’s cops.
Typical of Noir, there is a femme fatale, smart plan, overreach, rotten end.
The stripped down story? That of Breathless.

[GirlyGirlMask]

Quote Originally Posted by Zaharoff

Dick Tracy - 1990 - 6/10 Tracy and cohorts take on Big Boy Caprice and his associates. Distracting the sides are Tess Trueheart, the Kid, and Breathless Mahoney. Eye-popping set design, amazing color scheme, blazing bullets. All underwhelmed by a white bread script that serves Disney, rather than the comic strip. The result is akin to a violent, live action cartoon. A triumph of style over meager substance. The 90’s witnessed a lot of Pulp inspired movies. This was one of the first and one of the poorest. Coulda, shoulda. I’ve watched this for years, floored by the photography, cringing at the “family values”. Beatty OK, Pacino hamms it up, Madonna steals everything in sight.

This movie had so much potential, its a shame the execs demanded it be a Happy Meal/action figure commercial. With Beatty in the director's chair and Storarro behind the camera...well at least they nailed the visuals.

[Zaharoff]

Dogtown And Z-Boys - 2001 - 6/10



Roots in surf, blooming on the sidewalks.
Documentary on the rise of skateboarding into professionalism.
Usual mix of aerial prowess, newsreels, participants telling their versions.
Hardcore fans need no prompting, casual viewers – give it fifteen minutes and decide.
The history and details strike me as fairly accurate.
I was keenly aware of the skateboarding world of the 1970’s.
Believe it or not, I put myself though college working at a skateboard factory (across from a porn studio),
We had our own “Pro,” half of the early crew were surfers, though later on stoners predominated.