Movies

My movie experiences, including my quest to watch all of the AFI 100 Greatest American Films

Day 200: Ant-Man

  • Ant-Man

    Ant-Man

It’s been awhile since I’ve been to the movies, so I was excited to see Ant-Man. He wasn’t a major character in the Marvel Universe comics, but he proved to be a worthy addition to the Marvel Universe films.

I didn’t think Paul Rudd could be a superhero. I loved him in Anchorman, I Love You Man, and Knocked Up (one of my favorite lines ever: “I got Matsui”). He didn’t strike me as an actor that could carry a comic-book-turned-movie.

Thankfully, Rudd plays it just right. He doesn’t take things too seriously nor does he overdo the snarkiness and strikes the right balance between both. There are a few winks to the audience about the silliness of the whole thing, but it never feels patronizing or demeaning.

I didn’t find out until the credits rolled that Edgar Wright had a hand in the screenplay and realized that’s why I liked Ant-Man so much. Wright’s a master at this type of pop-culture fare.

It’s the perfect summer blockbuster. Yes, it’s silly and predictable, but it’s also a lot of fun and likable.

And it’s got me fired up to get back into my AFI Top 100 challenge.

Day 175: Music on Netflix

 

Rodriguez at the Greek Theatre

Rodriguez at the Greek Theatre

Just as my taste in music has changed over the years, so has my method of discovering new music evolved. As a teenager, I discovered new music through word of mouth; most of my friends were musicians so one of us was always finding a new band and sharing it with the others. Some of us traded tapes via fanzines while some of us stayed up late to tape radio shows that played new and obscure songs.

Nowadays, I’m more likely to hear about a new song or band via social media than the radio. I tend to read books or watch movies during my spare time.

Thankfully, my love of movie-watching actually helps me find new music. Netflix has a great selection of music documentaries. I’ve enjoyed the films about well-known bands (Rush, Pearl Jam, etc.), but it’s the ones about lesser-known musicians and groups that fascinate me.

Two years ago, my wife and I watched Soul of America, a documentary about Charles Bradley, a soul singer eeking out a living as a James Brown impersonator before being discovered as he neared retirement age. It’s an inspiring film and after we saw it, we were fortunate that Bradley was in L.A. that weekend playing a free show at Amoeba Records (he played the FYF Fest the night before).

This past weekend, a fortuitous pair of tickets (thanks to my Yelp Elite badge) led us to the Greek Theatre to see another obscure musician play a big show. We rented Searching for Sugar Man, a film that details the unique career of singer/songwriter Rodriguez (née Sixto Rodriguez). In the early 70s Rodriguez released two albums that barely sold, despite being worked on by top producers who worked with top artists of the day. He was compared to Bob Dylan on more than one occasion, but he wasn’t able to build a fanbase.

Born and raised in Detroit, Michigan, Rodriguez put down his guitar and entered a life doing construction work in his hometown and occasionally dabbled in local politics. Unbeknownst to him, his music had become the anthem of South African youth. He’s regarded on the same level as the Rolling Stones and his albums (bootleg and legitimate) sold more than they did in America. It’s only when two fans of his decide to track him down does he learn the truth. Rumors of his demise had been exaggerated: at one point, people thought he’d killed himself on stage.

It’s a fascinating film, since there are so many unanswered questions, especially by the record label that failed to pay him all of the royalties over the years (there is one revealing interview with an executive). To his credit, there’s no hint of bitterness or self-pity in Rodriguez. He’s led a good, if hard, life and he’s a Motor City son through-and-through.

Like Bradley, Rodriguez experienced his biggest musical moments when most musicians have long retired. I might not have heard either of them on the radio, but I was more than happy to have discovered them via streaming video.

Day 126: Delano Manongs

Larry Itliong

Larry Itliong

I learned something about my lolo (grandfather) recently, after watching the Delano Manongs, a documentary now airing on PBS as part of its Asian Pacific Heritage Month programming. I mentioned this to my mom and she said that lolo had worked those same fields. This was news to me, since I only knew about the time he’d spent serving in the U.S. Navy.

As I watched the short film, I was inspired by Larry Itliong’s drive and passion for protecting his fellow Filipinos. He fought long and hard for workers’ rights and partnered with Cesar Chavez. They formed the American Farm Workers union and led the famous grape strike that eventually led to better conditions and pay for the workers.

This history of workers’ rights was interesting and was in line with what I’d learned in college. I felt silly that I never asked mom if lolo had worked there. In retrospect, it makes perfect sense: there weren’t many job opportunities for young Filipinos back then, especially ones like my lolo who only had an elementary school education.

There’s a point in the documentary where many of the manongs (the older Filipino farm workers) decide to continue their work in the fields, while others go off in search of other opportunities. What if my lolo had been one of those that stayed in the fields? Would I be here, typing away on a laptop about him?

I only have a few memories of my lolo, but they’re all good ones. It felt good to add another one today.

Day 125: Star Wars

Star Wars

Star Wars

(This is part of my ongoing series on my quest to watch all 100 of AFI’s Greatest American Films of All Time)

 

13. Star Wars

Yesterday I live-tweeted Star Wars, in honor of Star Wars Day. I had no idea how tough it would be to live-tweet a movie I’ve seen countless times. Even though I did a bit of pre-writing, it still wasn’t enough to prepare me for the task. It seemed like every time I tweeted something, there were two or three other things happening that I missed. I tried as best I could to include trivia and witty remarks, as well as references to all of the Star Wars parodies out there, but it was a Herculean task. Kudos to those who manage to do these type of things.

As for the film itself, we all know what it’s about, right? A long time ago … etc. Even though I consider myself a hardcore Star Wars fan, I don’t own a copy of the original film; I refuse to spend money on any special edition version of the film. Actually, that’s not true. I have the original trilogy on VHS somewhere in the garage, but no VCR to play it on.

For my Star Wars Day live-tweeting, I borrowed the original theatrical release DVD from the library. This is also the same version that’s included in the Blu-ray set, but neither has been remastered and I won’t buy it until it’s been remastered and unaltered. It’s a shame that George Lucas wouldn’t release the film without tinkering with it, but hopefully Disney will see the light (aka $$$) and give the fans what we’ve wanted for years.

As I live-tweeted the movie, two things stood out during my umpteenth viewing:

1. Sir Alec Guinness and Harrison Ford were miles above the rest of the cast in terms of acting skills. Luke is nearly unwatchable in certain scenes, Leia’s accent is all over the place, and some of the Empire cronies are awful (except for Christopher Lee and James Earl Jones, of course).

2. The lack of CGI special effects is a major plus. When J.J. Abrams announced that Episode VII would not rely on all of the over-the-top CGI of the prequels, I knew that Disney had hired the right director. Nearly 40 years later and the special effects in Star Wars still hold up, for the most part.

I’m sure I’ll notice other things the next time I watch this masterpiece. And I’m sure it will be before next May 4th.

My rating: 5 out of 5 stars.

Day 119: The Sheik

The Camel Clutch

The Camel Clutch

Flipping through Netflix recently and stumbled upon The Sheik, an interesting documentary about former WWF star The Iron Sheik (Khosrow Vaziri). It’s like other wrestling documentaries with its rag-to-riches-to-rags storyline, tales of debauchery on the road, and gruesome injuries that limit the wrestler’s post-spotlight life.

Growing up as a WWF fan in the late 70s and early 80s, the Iron Sheik was one of my favorite heels (bad guys), along with Rowdy Roddy Piper. His tag team matches with the Russian Nikolai Volkoff were legendary and they were the perfect foils during the Cold War. No other tag team inspired the venom of the crowd like the Sheik and Volkoff.

The movie is sad, though, as the Sheik struggles with addiction and health problems caused by his life in the squared circle. He’s a proud father if not a perfect one, and he’s had to deal with the murder of one of his daughters. Thankfully, there is a bit of redemption for this former superstar: family friends help the Sheik become an Internet sensation, translating his unique Sheik-speak into 140-character blasts on Twitter.

I was filled with a warm nostalgia while watching the film and couldn’t help but root for The Sheik to find better health and happiness. I think it’s good enough to recommend to non-fans, but those who used to put their younger siblings in the Camel Clutch will find a lot to like about The Sheik.

Day 111: Sunset Boulevard

Sunset Boulevard movie poster

Sunset Boulevard movie poster

(This is part of my ongoing series on my quest to watch all 100 of AFI’s Greatest American Films of All Time)

16. Sunset Boulevard

Widely considered a classic and ranked high up on AFI’s list of 100 Greatest American Films of All Time, I was looking forward to finally seeing Sunset Boulevard.

Confession: this was the third time I started Sunset Boulevard this year; the first two times I fell asleep before the half-hour mark and this third time I dozed off near the end, which required a rewind to finish the movie.

I now understand why people hold this film in such high regard: it’s a Hollywood film about Hollywood and all of its narcissist glory. For my generation, the film-about-Hollywood that best captured the spirit of Sunset Boulevard is The Player. Sunset Boulevard was the original The Player. The O.G. Player, if you will.

William Holden is solid as Joe Gillis, the screenwriter who stumbles into a former movie star Norma Desmond’s life. Gloria Swanson plays Desmond and I wasn’t a fan. She seems to be overacting in so many scenes. Perhaps this was in keeping with her character, but I didn’t like her performance as much as Holden’s. Truth be told, it’s Erich von Stroheim as the servant Max who is consistently good throughout the film.

One thing I did not like at all: Holden’s narration. Maybe this device was used more in the films of the era, but it has not aged well. At all. It’s unnecessary and it feels like director Billy Wilder didn’t trust his audience to figure things out by themselves. Whenever I heard the narration, I kept thinking, “This is the movies. There’s no reason to tell us something at the same time you’re showing it!”

Still, I liked the ending, as the Norma Desmond character utters her famous last line. It’s not a film I’d watch again, but I get why it’s on the AFI list and it seems like any serious cinephile should see it at least once.

My rating: 3 out of 5 stars.

Day 57: High Noon

High Noon

High Noon

(This is part of my ongoing series on my quest to watch all 100 of AFI’s Greatest American Films of All Time)

27. High Noon

This was one of the movies that I watched as part of a Film Studies class a lifetime ago and still enjoy after several viewings. My exposure to black-and-white Westerns to that point had been the reruns on TV; nothing ever grabbed my attention enough to make me fall in love with the genre. High Noon was different, though, and it’s all because of Gary Cooper. He’s brilliant as Will Kane, the weary and soon-to-be retired marshall of a small town of weak-minded folk. Shot in near real-time, it’s an atypical Western, with Cooper as a vulnerable and very human hero of the film.

If there’s a weakness in this film, it’s the lack of action, but again it’s not your standard cowboy movie (the closing gunfight is great, though). Cooper is dressed in black, which was normally the bad guys’ color. Instead of rallying the town behind him, he finds himself alone, practically begging people to become deputies and make a stand against an incoming gang of bad guys looking for revenge. I love how Cooper maintains a stoic yet approachable presence throughout the film.

There’s a scene near the end when he seems overwhelmed by everything and he sets his head down to take a breather. It lasts only a few seconds, but it tells so much of the story: he knows he’s facing insurmountable odds and most likely a certain death and nobody has his back. I’m not sure most heroes of ’50s-era movies were shown in such a weak, powerless position.

Cooper’s vulnerability and his stand amongst the cowards of his town is what has always appealed to me. He’s not doing the popular thing, but he’s doing the right thing.

Other well-known actors in High Noon: Grace Kelly, Lloyd Bridges, and Harry Morgan (billed as Henry Morgan). All are good, but not as great as Cooper, who won the Oscar for Best Actor. And every time I see Lloyd Bridges in any old film, I blame Zucker-Abrahams-Zucker for making me think, “Looks like I picked the wrong week to stop …”

My rating: 4 out of 5 stars.

https://www.youtube.com/watch?v=SkNu4-sSglY

Day 38: Shane

Shane poster from IMDB

Shane poster from IMDB

(This is part of my ongoing series on my quest to watch all 100 of AFI’s Greatest American Films of All Time)

45. Shane

From the opening scene I wished I could’ve seen Shane on the big screen. Shot in Technicolor, the film looks gorgeous from beginning to end and wound up winning an Academy Award for Cinematography for its beautiful panoramic and lush views of Wyoming.

Aside from the cinematography, I liked Shane, but didn’t love it. Perhaps if I had seen it upon its initial release, I would’ve enjoyed it. But, over 50 years later, it didn’t pack the punch that I’m sure it had in 1950s. Alan Ladd is good as Shane, the handsome stranger who rides into town, trying to leave his gunslinging ways behind him. The star of the movie for me, though, was Van Hefln as Joe Starrett, the hard-working homesteader fighting for his family. How interesting it would have been had Ladd and Heflin swtiched parts. Also noteworthy was Jack Palance (credited as Walter Jack Palance), who was awesome as the gunslinger Wilson; he’s menacing and a strong presence whenever he’s given screen time

The character of Starrett’s son Little Joe nearly ruined the film for me. He’s an annoying kid in an Annakin-Skywalker-in-Episode-I kind of way. Other reviews I’ve read talk about Little Joe being the audience’s way into the story; he represents the fresh set of eyes for this straight-forward Western. I thought he was a whiny brat at times.

The action scenes were terrific. Given the period it was released in, I’m sure audiences were thrilled by Shane. For me, this was a solid Western, but one in which its age is beginning to show.

My rating: 3 out of 5 stars.

 

Day 34: Annie Hall

Annie Hall

Annie Hall

(This is part of my ongoing series on my quest to watch all 100 of AFI’s Greatest American Films of All Time)

35. Annie Hall

I had mixed feelings about watching Annie Hall. I’m not a Woody Allen fan; the whole neurotic New Yorker schtick does nothing for me. Of course, his relationship with Soon-Yi doesn’t exactly endear me to him, either.

Still, I tried to keep an open mind about Annie Hall. Early on, it was all Woody and his neuroses; my eyes rolling in my head, looking at my watch. I was surprised at how often he broke the fourth wall; Frank Underwood would be proud. Allen’s character is a comedian and the film follows his exploits in love and his various relationships. There are a lot of clever lines and insights throughout the movie, but at times I felt like I was watching a stand-up act in the guise of a dramedy: people don’t actually talk like this, do they?

Fortunately, before I found myself questioning my cinematic quest, Diane Keaton shows up. She’s the perfect foil for Allen’s character; young, cute, and charming. Scenes appear to brighten up when she’s in them, offsetting the morose and miserable Allen. After watching and re-watching her in the Godfather series, I’d forgotten that she was more than the wife of Michael Corleone. Thanks to her role as Annie Hall (supposedly based on her true self), the film is bearable, even to a non-Woody-Allen-fan as myself.

Overall, I enjoyed Annie Hall. I loved the scenes of late ’70s New York and Los Angeles (Fatburger and Tail o’ the Pup!) and the cameos (Paul Simon, Jeff Goldblum, Carol Kane, Shelley Duvall, and Christopher Walken). For the most part it’s entertaining, if a bit grating at times, due to Allen’s presence. Not sure I’d include it in my Top 100 list, but I can see why it’s well-regarded. Just not by me.

My rating: 3 out of 5 stars.

Day 9: Movie Time

french_connection

93. The French Connection

As I wrote at the start of 2015, one of my goals this year is to watch all 100 of the AFI’s 100 Greatest American Films of All Time. It’s something I’ve wanted to do for awhile, but never committed to until now. I’m not watching them in any particular order, just whatever I’m in the mood for or have readily available.

Last night I fired up Netflix for the first film on my cinematic journey: William Friedkin’s The French Connection (No. 93 on the AFI list). I’d never watched the movie from beginning to end, just catching clips here and there over the years. Of course, I knew about The Chase, having seen it in various Hollywood retrospectives. It’s what everybody talks about and for good reason: it’s awesome and exciting.

The other thing that everybody talks about? Gene Hackman. He’s brilliant as Popeye Doyle and absolutely owns every scene he’s in. He’s racist, drinks too much, and obsessed with his case. Roy Scheider is solid as his partner Cloudy. Critics have raved about the chemistry between the two, but I feel like almost anyone could’ve been paired with Hackman; he’s that good.

According to film historians, the violence was cutting-edge at the time, but it’s tame by today’s standards. I loved how Friedkin went with a documentary feel to a lot of the movie. He captured a lot of the grittiness of early ’70s New York and it never felt like I was watching the action on a soundstage. I’m not sure why English subtitles weren’t added to the scenes in French; was it supposed to add mystery and intrigue? I just felt frustrated that I hadn’t done better in my college French classes.

Overall, I liked The French Connection. It’s a solid crime thriller with an anti-hero lead. Watch it for Hackman’s Oscar-winning performance and the exhilarating non-CGI car chase.

My rating: 3.5 out of 5 stars.