The Writer's Poke

Directed by Edgar Ulmer -- People on Sunday (1930) and Detour (1945) -- and starring Bela Lugosi (Vitus) and Boris Karloff (Poelzig). Not to mention featuring a black freakin' cat, a modern castle built on a mass grave filled with war dead and dynamite, and home to a crazed Satanic cult leader... this movie has it all. Maybe a little too much. It's like Peter (David Manners), the self-professed crappy writer, wrote it all in a fever dream. Even the ending makes fun of what we just watched, noting (in a newspaper review of Peter's latest novel) that none of it was believable. None of it was remotely realistic.  When Vitus sees a black cat, it triggers him. In no real way, to be honest, except to be overdramatic. This is another instance of the film jabbing at itself when Poelzig tells Vitus to "stop being so overdramatic." But Vitus and Poelzig have beef. It goes back to the War and to the fact that Virus spent the past 15 years in a prison -- a kind of Hotel Calif...

This movie maybe shouldn't be that good. But here are some of the "little things" that make it pretty special: "Does she bite?" "That costs extra." *** "Profession?" Looks. Laughs. "Yes." *** "Italian!" "Danish!" "German!" *** Camera shot of the woman in the swing. *** What it doesn't do so well -- The shots of the man in an ape suit, which is only slightly better or worse than the enlarged close-ups of the Ape's "chimpanzee face." Stuff like that takes me out of the movie, to be honest. So as much as I enjoyed a lot about this movie, it has a rating ceiling. Rating: 3/5 stars

The Criterion DVD includes a 1991 audio interview with Robert Montgomery's daughter, Elizabeth Montgomery. Dang it, Criterion. These are the sort of extras that Criterion includes that are both a blessing and a curse. A blessing, because they're usually pretty cool. A curse, because I'm always tempted to skip them so I can watch another movie... especially if it's an audio-only supplement. For every 90-minute film, you need to budget 4 or 5 hours just to go through all the extras. Then the stuff you learn in the extras make you want to follow-up with Google searches. Then you probably have a list of movies and actors that you want to add to your watch list. It just goes on and on.  And that's great, because I will never ever run out of content to watch, read, or listen to.  In the interview, Elizabeth -- what a great, happy voice -- admits that she still didn't know her father's body of work all that well. Keep in mind she was 58 at the time, and she would b...

It's hard to explain it. I grew up in the 1980s, and the previous decade seemed like a lifetime away. When I was seven or eight, I loved watching the A-Team, but I could never wrap my head around those guys being in the Vietnam War. I mean, if they were in their 30s or 40s, I guess that makes perfect sense, but the late 60s might as well have been the 19th century to my little kid brain.  Even when I was in college in the 1990s, I wondered why certain authors were bothering to write about Vietnam -- Tim O'Brien, or for the purposes of this film, Bobbie Ann Mason.  In Country is a movie that shows there was still something to be learned and discovered about the Vietnam War and the people that were still caught in its memory.  Samantha (Emily Lloyd) never knew her father. He was killed in Vietnam while her mom was pregnant with her. For that matter, her mom never really knew her husband. They were married for about four months when he was shipped off to Vietnam.  In th...

Is 4 stars generous? Maybe, but I watched all 5 Vacation movies over a weekend, and this one was the only one that really made me consistently laugh. Ed Helms and Christina Applegate do a very good job taking over the lead roles from Chevy Chase and Beverly D'Angelo.  Chase and D'Angelo both have small roles in the film. My first thought was: D'Angelo has aged gracefully, but what in the hell has happened to Chase? The 18 years between Vegas Vacation (1997) and this film haven't been kind to him.  So, the basic premise of this film is the same as the original Vacation (1983): A cross-country to Wally World. The movie acknowledges this with a short "meta" scene. I thought that scene was funny, and I like the Albanian rental car. I thought for sure it could be driven in either direction, but they never showed that. It did come with a rather sus keypad that included quite a few unnecessary options.  Each of the main characters is developed enough to be interestin...

Rusty (Ethan Embry) is back to wearing Izods. In this one, his collection includes yellow and turquoise. They also bring back Christie Brickley and her Ferrari gimmick (this time she's a mom). While I like that they bring back things that might remind us of the classic Vacation (1983), I also feel like the "callbacks" can be almost them saying, "We've run out of anything new to offer."  Enter Cousin Eddie (Randy Quaid) and his family. They're back, because now they live in the desert outside of Las Vegas. Eh...  Elisa Bell and Bob Ducsay took over the screenplay duties from John Hughes, but it feels like they wanted to try to go back to Vacation (1983) roots. But honestly, this series just proves my theory that sequels are never as good as the original, and in this case, even the original wasn't all that great to begin with.  On the positive side, after having no reason for being in Christmas Vacation (1989), I was glad to see that Rusty and Audrey (...

No better than European Vacation (1985), which was pretty much dreadful.  In this installment, we have a little more physical humor, as well as some callbacks to the original. In the original Vacation (1983), they accidently killed an aunt's dog. In this one, an aunt's cat gets electrocuted chewing on the Christmas tree light wires.  Another callback is Clark (Chevy Chase) looking out the back window, imagining how nice his new swimming pool will be. Then he sees a hot girl. Maybe this fantasy sequence works if they brought back Christy Brinkley.  If they couldn't get her, though, just cut the scene. Rusty (Johnny Galecki) has some interaction with Clark, but they seem to have forgotten Audrey (Juliette Lewis). She just gets lost in the plethora of family characters. In fact, when they're busy chasing the squirrel, Audrey completely disappears. I thought, "Did she hide in her room?" I mean, I was trying to make up a reason for why she completely disappeared fr...

If this movie wasn't billed as a comedy, would I like it any better? But if we don't consider it to be a comedy, what genre would it be? IMDb offers some alternative categories: Farce, Globetrotting Adventure, Roadtrip.  Nope. Even if I think of it as a non-comedy filling one of those other roles, I don't like it.  The original Vacation had a very limited idea, but it had an idea: Let's drive to Wally World. This movie's idea is even more vaguely defined: Let's go to Europe because we won a contest.  As other reviews have said, this is a comedy without any jokes. When I noticed Eirc Idle had a small part in the film, that briefly excited me, but this is a prime example of "Why did he agree to take this part?" It's exciting, in theory, to think about Chevy Chase and Eric Idle sharing a scene and bouncing comedy off of one another. But when they are on screen together, nothing happens.  Just other random thoughts: Do you remember colored TP? The Gris...

When you grew up, did you and your parents share outfits or wear the same brands/clothing styles? In National Lampoon’s Vacation (1983), Rusty opens the film in a Pink Izod. Clark will later wear a Pink Izod, too. So will Ellen, but it’s oversized so I’m guessing it’s Clark’s. Rusty also wears a yellow and a green Izod. Clark wears a light purple, a light blue, and a dark red Izod. Clark and Ellen also have Izod rain jackets. His is blue and hers is tan. Yes, I found myself distracted by that, although it's not a big deal. I would rather one character wear the Izod, but maybe 1983 was the year everyone wore the allegator gimmick.  I don't think this movie is very strong, but it is iconic, and a lot of my friends like it and quote it from time to time. In all honestly, I don't think I've ever actually watched it, and I wanted to finally give it a fair viewing. Additionally, I've been watching the films of John Hughes, and his Chicago-based presentation interests me. ...

  "You could learn me." -- Tessa asking Justin to marry her. What a line! And over the course of the film he does, telling her spirit that he has finally learned all of her secrets. Justin (Ralph Fiennes) and Tessa (Rachel Weisz) end up in bed together so quickly, I thought I was watching a porno for a second. But that's before. The movie starts with the "end," I suppose, with "everything" before happening in flashback. The opening shot focuses on the backs of Justin, Tessa, and Arnold. Tessa turns around briefly to say goodbye. She touches Arnold's arm briefly, and but everything feels detached and unexplained. At this moment, we don't know who these people are, or what's about to happen. We've landed at this specific moment, and it's not in the linear timeline. Justin is a very polite, very reserved British diplomat. Tessa is a woman who wants to make a difference in the world. When she asks to go to Africa with Justin, she offers...

My daughter and I went to see Birthday Massacre at First Avenue a few months ago, and I've wanted to re-watch Purple Rain ever since, just to see what First Avenue looked like in the 1980s. At the same time, I was afraid that I wouldn't like this movie any more than I did 40 years ago, which is probably the last time I watched this film, as far as I remember. It's possible that I watched it once since 1985, but I don't think so. This is definitely the first time I've watched this movie since living in Minnesota -- now going on 20 years. I kind of wondered if it would hit me differently for that reason, too. It didn't. It's still just a really bad, underwhelming movie. Prince has undeniable charisma, and his music is good. But in this film, there's no coherent story, and the acting, including Prince's, is pretty atrocious for the most part. I don't want to go through how bad it is point by point but let me just say that the movie ends with a lot o...

Keep in mind this film's premise: It is written. This isn't a film about "luck" or "chance." I think if you watch it that way, you have a right to criticize and even dislike the film. But if you watch it like a modern-day fable, how can you not view this film as a contemporary classic? As far as I recall, I've only watched this film one time previously -- more or less when it originally came out on DVD. But the film has always stayed with me. Few films are like that. Films that I "feel" I know long after I've forgotten all the plot details. Films like Shawshank Redemption (1994), Memento (2000), and maybe a handful of others. Films that "speak" to me on some "deeper" level. I've been wanting to re-watch Slumdog Millionaire for a long time now, to see if it's as good as I remember it to be -- to see if it was worth the feeling the memory of watching it has given me.  And yes, it is that good.  Jamal (Dev Patel) is...

Surely Kate Winslet has been in a few duds, but if so, what are they? I usually feel like it's a mistake to watch a film just because an actor is in it. I mean, I do, but I'm often disappointed. I often wonder: Why on earth did they pick THAT role? Why did they agree to be in THAT movie? It reminds me of actors like Bruce Willis who, at least at the end of his career, signed up to be in any movie that came his way. Granted, I get why Willis made that decision, but Winslet has never had to make that choice. She's always been able to pick provocative roles in good movies. And this is a really good movie. I did find myself saying "No... no... no..." when I realized that the film was about to end and the characters were all starting to make weird decisions. I don't believe, for example, that Sarah (Winslet) would go over to the child molester in the park late at night to see if he is okay. I don't believe that Brad (Patrick Wilson) would stop to do skating tri...

What stands out to me is how the ending is changed. In the screenplay, Magda watches from her apartment as the Landlady pulls down the screen to Tomek's room. There's no closure. In this version, Tomek has finally returned to work at the post office. Magda has been waiting for his return, and when she sees him, she pauses, goes inside, stands, smiles slightly. It's an awkward, somewhat "tense" moment. You think Tomek might run away again, but he stays in his seat, and they look at each other. Finally, he breaks the silence, letting her know that he's done peeping at her. Is she disappointed? Maybe. She has "fallen in love with him," or that's perhaps what we're supposed to gather when she answers the phone and tells the silence at the other end that "You were right." Was it Tomek on the end or someone else? It doesn't matter, really. What matters is that Magda's view of love has changed. She didn't believe in love, and n...

I came to this one by way of Detour (1945) because I was interested in seeing what Edgar Ulmer and Billy Wilder were up to.  What we get here is a lot of nice footage of Berlin in 1930. That's pretty cool in and of itself. I'm not sure it makes for much of a movie. But I do enjoy watching people just doing what people do on the weekend. We also get to see people cleaning the streets, washing their cars, and so on.  On Sundays, people dress up, go out on dates, eat chocolates, make phone calls. Captivating stuff.  The Criterion edition includes two different musical scores. I chose the one with the Orchestra, which was fine.  At the beach, one of the guys is looking at postcards, many of which feature fat women. Then the scene transitions and we see that many of the women at the beach are old and fat, maybe mothers. But the "stars" of film are younger couples in good shape. They've brought their record player and they're just enjoying the day.  It would be hard...

This one does it. While I liked The Tall T (1957) and Decision at Sundown (1957), I felt like both were just missing "something." Comanche Station feels like they found the missing ingredient. Right from the start, I noticed the landscape. Just a beautiful place to shoot a film. In addition, it was the way that Budd Boetticher does the shooting. Plenty of really nice tracking shots, including for when we're just following the characters moving on horseback. We get to see them having real conversations. It's very nicely done. Randolph Scott seems to have a better overall ensemble cast, too. He doesn't have to do all of the heavy lifting. Although he's still the star, I also felt like he blended more into the story. Frank (Skip Homeier) and Dobbie (Richard Rust) have some nice banter between them, and Claude Akins (Ben) is a nice foil to Cody (Scott). And there's also a woman, Nancy (Nancy Gates). In a sense, the Indians play the "bad guy" role. Th...

If Buchanan Rides Alone (1958) is noticeably lacking in women, at least Ride Lonesome has Karen Steele. She's pretty prominent in this movie, although I guess her main role is to be a burden for the guys that are trying to ride faster than the people chasing them. She's also someone to stare at and talk about. She's the kind of woman, we're told, that needs a man and can't be happy unless there's a man around to give her what she needs... okay. Funny thing is, I watched this movie last night, went to sleep, and now I'm a little fuzzy already on what happened to her at the end. I can see her quite vividly talking to Brigade (Randolph Scott), but did they go their separate ways? I've honestly already forgotten and need to go back and watch the ending again. In a lot of movies, you'd just expect her and Brigade, as old as he is, to get together at the end. But I don't remember that happening. I just read the Wikipedia summary of the film and even Go...

The most important thing: Does Buchanan (Randolph Scott) leave town with his money? It's funny, because he does get the money from the Sherriff's safe, but it's $250 short. But as far as I can tell, he leaves town with $1750 plus Juan's (Manuel Rojas) amazing horse. Thus, his plan to buy a stake in west Texas is intact.  While Buchanan may ride alone, he does need the help of some friends to avoid hanging. At first, he's just a stranger in town, and since they know he has money, when he's in the wrong place at the wrong time, it seems like the Sheriff decides it's easy to hang him and steal his money. The Sheriff's brother, however, makes sure that Buchanan receives a trial, and Buchanan is found not guilty. Nevertheless, the Sheriff has no intention of giving back the money and sends two men to ride Buchanan out of town. The plan is for them to shoot Buchanan.  However, Buchanan and Pecos (L.Q. Jones) discover that they're both Texas men with the sa...

One way to describe the Ranown Westerns? Minimalist. In a user review for The Tall T, someone wrote that the characters weren't developed enough. I'm not sure I agree. What's definitely true is that both The Tall T and Decision at Sundown focus on a moment in time. These are not stories that tell us much about the moment before, and they may leave us uncertain about the moment after. All we get is the Now. Sundown is the name of the town. The name itself should tell us something. Consider a town that is named Sundown as opposed to Sunrise. Sundown is somehow more foreboding. The "now" of the moment is the Tate Kimbrough (John Carroll) wedding. Even though he's been with Ruby (Valerie French), even right up to before the wedding ceremony apparently, he's marrying Lucy (Karen Steele). Why? Because Ruby isn't the marrying kind. She's lowkey made out to be a "salon worker" and all that entails. Why would Lucy put up with this? Ruby even plans...

I came to the Ranown Westerns with no knowledge of who Randolph Scott and Budd Boetticher were. I love Westerns, and I've watched about 100 John Wayne films, but beyond that, I haven't studied the genre. Thanks to Letterboxd, I also know that I haven't been watching very many Westerns in 2025-26 -- it's the genre right at the bottom of my list. But I picked up the Ronown Westerns 5-film Criterion collection during the last sale, and I'm now ready to dive in. First impressions: 1. These films are at the tail-end of Scott's career. He did around 100 films, but here he's 59 years old and probably doing his last 10 or so films. He does look a bit old, and I would assume that the parts are really meant for someone younger. His age isn't a big issue. It's just something I thought about. 2. B-Movies. So, the Ranown Westerns are supposed to be B-movies -- the "cheaper" films slapped onto a double-bill. What makes these films B-quality? The run-time...