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| By Elton Tomasi |
And here are a few looks back at Ms. Marvel--as Carol Danvers was known in the days before she got her promotion.
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| By George Perez |
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| By Adriana Malo |
Wednesday, March 6, 2019
Captain Marvel Reporting for Duty!
Tomorrow, "Captain Marvel" opens in theaters all across the United States. Here's a gallery of art in anticipation and celebration!
And here are a few looks back at Ms. Marvel--as Carol Danvers was known in the days before she got her promotion.
And here are a few looks back at Ms. Marvel--as Carol Danvers was known in the days before she got her promotion.
Monday, March 4, 2019
Musical Monday: Leo Gives It Away
Everything's better with Leo Moracchioli, even songs I disliked Back in the Day, when they were performed by the original band.
Until Leo's cover (and the goofy video), the only version of "Give It Away" that I could stand was Weird Al's spoof version, "Bedrock Anthem". Check it out below... but be careful! It opens with a little bit of color.
Until Leo's cover (and the goofy video), the only version of "Give It Away" that I could stand was Weird Al's spoof version, "Bedrock Anthem". Check it out below... but be careful! It opens with a little bit of color.
Sunday, March 3, 2019
'The Dark Hour' isn't worth your time
The Dark Hour (1936)
Starring: Berton Churchill, Ray Walker, Irene Ware, Hedda Hopper, E.E. Clive, Hobart Bosworth, and William V. Mong
Director: Charles Lamont
Rating: Four of Ten Stars
A young police detective (Walker) and his retired mentor (Churchill) join forces to solve a murder where each of their romantic interests (Ware and Hopper) are among the suspects.
"The Dark Hour" has at its foundation an interesting murder mystery story and it has some nicely executed twists, but the bad ultimately outweighs the good here.
First of all, from a technical standpoint, the film is shockingly stagey, with characters crossing rooms to go in and out of doors, moving up- or down-stage, while appearing to carefully not step on each other's lines or get between the speaking and the audience. While watching, it felt like I could see the "exit stage left" and "cross to stage right" directions in the script, so it was very surprising to learn that the film was based on a novel not a stage play when I took another look at the credits. I usually don't mind a theatrical vibe from these old movies, but this one took it to a level where it became distracting.
The biggest strike against the film is the ending, because it turns what had been a charming lead character into an obnoxious bigot who is willing to look the other way when he thinks the murderer is someone he's friendly with, but is willing to literally chase the murderer around the world when it is revealed that it's a foreigner. I don't know how audiences reacted to that ending back in 1934, but I think most modern viewers will have a very negative reaction to it.
Starring: Berton Churchill, Ray Walker, Irene Ware, Hedda Hopper, E.E. Clive, Hobart Bosworth, and William V. Mong
Director: Charles Lamont
Rating: Four of Ten Stars
A young police detective (Walker) and his retired mentor (Churchill) join forces to solve a murder where each of their romantic interests (Ware and Hopper) are among the suspects.
"The Dark Hour" has at its foundation an interesting murder mystery story and it has some nicely executed twists, but the bad ultimately outweighs the good here.
First of all, from a technical standpoint, the film is shockingly stagey, with characters crossing rooms to go in and out of doors, moving up- or down-stage, while appearing to carefully not step on each other's lines or get between the speaking and the audience. While watching, it felt like I could see the "exit stage left" and "cross to stage right" directions in the script, so it was very surprising to learn that the film was based on a novel not a stage play when I took another look at the credits. I usually don't mind a theatrical vibe from these old movies, but this one took it to a level where it became distracting.
The biggest strike against the film is the ending, because it turns what had been a charming lead character into an obnoxious bigot who is willing to look the other way when he thinks the murderer is someone he's friendly with, but is willing to literally chase the murderer around the world when it is revealed that it's a foreigner. I don't know how audiences reacted to that ending back in 1934, but I think most modern viewers will have a very negative reaction to it.
Thursday, February 28, 2019
'Take the Stand' is a fine Who-Dunnit
Take the Stand (1934)
Starring: Russell Hopton, Thelma Todd, Jack La Rue, Gail Patrick, Burton Churchill, Leslie Fenton, Shiela Terry, Jason Robards, Arnold Gray, Bradley Page, and DeWitt Jennings
Director: Phil Rosen
Rating: Seven of Ten Stars
A gossip columnist and radio host (La Rue) is murdered and the suspect list includes some of New York City's most celebrated, notorious, and dangerous figures from the pinnacle of high society to the deepest parts of the criminal underworld. Newly minted police detective Bill Hamilton (Hopton) has his work cut out for him, because he must identify a killer in a large group of suspects with air-tight alibis, and he is racing against his own department who wants to close the case by hanging the murder on whatever convienent target emerges first.
"Take the Stand" is a fast-moving film that unfolds like a condensed Agatha Christie novel. The murder and how it was executed was clever--so clever that I only had part of it worked out by the end which is a testament to the quality of the script (or the novel it was based on) since I've read so many mystery novels and seen so many movies of this type that. The murder weapon was also highly inventive, even if it seems less so with 85 years between its first release and it being used many times since in fiction, comic strips... and even a story that was proposed for an ill-fated Violet Strange project I once tried to pull together. (That said, even when the film was made there was a problem with the clues relating to the murder weapon, and they should have been addressed, because the movie otherwise mades attempts to incorporate forensics as the science existed in the 1930s.)
The casting in the film is perfect, with each actor and actress fitting their part, and everyone does a fine job with their characters. Oftentimes, there's one or two performers who either overact so severely or are otherwise just so bad they cast a pall upon the rest of the performances. Not so here.
Russell Hopton in particular does a standout job as the police detective who grows increasingly frustrated with his own colleagues, In a change of pace for films from this period, the cops are not all bigots and morons, but one who isn't--Hopton's character--has a hard time with the rest. Hopton's character is doubly interesting since he shares a secret with one of the suspects that may give him a blindspot in regards to identifying the murderer.
Thelma Todd is another cast member who turns in a remarkable performance, because it is so subdued. She plays the victim's personal assistant, and her role in the eventual solution to the mystery is perfectly believable because she is constantly hovering around the other characters, present but unnoticed except in the instances where she call s attention to herself, or is called upon by another character. In every other role I've seen Todd in, she has virtually leapt off the screen with her presense, so I was very impressed with what I saw happen in this movie.
One final touch in this film that modern viewers will find interesting is the theme of homophobia. One of the murder suspects is an opera singer who the gossip columnist keeps threatening to "out." I haven't seen the topic dealt with as straight forwardly and openly as it is in this film, nor have I seen a gay character played as free of simpering and mincing as this one. The character's sexuality seems to be an open secret in some circles, and the characters in the film don't really seem to care about it--but the gay character knows what will happen if the public were to hear about it on the radio, and he is panicked enough about it that he seems to be willing to resort to any means to prevent his career from being destroyed. These days, it seems many musicians would use their homosexuality as a selling point instead of viewing it as something that could destroy them.
All in all, while a key part of the mystery in "Take the Stand" has been copied to the point of becoming a cliche, there are still enough here to make it worth your time to check out.
Starring: Russell Hopton, Thelma Todd, Jack La Rue, Gail Patrick, Burton Churchill, Leslie Fenton, Shiela Terry, Jason Robards, Arnold Gray, Bradley Page, and DeWitt Jennings
Director: Phil Rosen
Rating: Seven of Ten Stars
A gossip columnist and radio host (La Rue) is murdered and the suspect list includes some of New York City's most celebrated, notorious, and dangerous figures from the pinnacle of high society to the deepest parts of the criminal underworld. Newly minted police detective Bill Hamilton (Hopton) has his work cut out for him, because he must identify a killer in a large group of suspects with air-tight alibis, and he is racing against his own department who wants to close the case by hanging the murder on whatever convienent target emerges first.
"Take the Stand" is a fast-moving film that unfolds like a condensed Agatha Christie novel. The murder and how it was executed was clever--so clever that I only had part of it worked out by the end which is a testament to the quality of the script (or the novel it was based on) since I've read so many mystery novels and seen so many movies of this type that. The murder weapon was also highly inventive, even if it seems less so with 85 years between its first release and it being used many times since in fiction, comic strips... and even a story that was proposed for an ill-fated Violet Strange project I once tried to pull together. (That said, even when the film was made there was a problem with the clues relating to the murder weapon, and they should have been addressed, because the movie otherwise mades attempts to incorporate forensics as the science existed in the 1930s.)
The casting in the film is perfect, with each actor and actress fitting their part, and everyone does a fine job with their characters. Oftentimes, there's one or two performers who either overact so severely or are otherwise just so bad they cast a pall upon the rest of the performances. Not so here.
Russell Hopton in particular does a standout job as the police detective who grows increasingly frustrated with his own colleagues, In a change of pace for films from this period, the cops are not all bigots and morons, but one who isn't--Hopton's character--has a hard time with the rest. Hopton's character is doubly interesting since he shares a secret with one of the suspects that may give him a blindspot in regards to identifying the murderer.
Thelma Todd is another cast member who turns in a remarkable performance, because it is so subdued. She plays the victim's personal assistant, and her role in the eventual solution to the mystery is perfectly believable because she is constantly hovering around the other characters, present but unnoticed except in the instances where she call s attention to herself, or is called upon by another character. In every other role I've seen Todd in, she has virtually leapt off the screen with her presense, so I was very impressed with what I saw happen in this movie.
One final touch in this film that modern viewers will find interesting is the theme of homophobia. One of the murder suspects is an opera singer who the gossip columnist keeps threatening to "out." I haven't seen the topic dealt with as straight forwardly and openly as it is in this film, nor have I seen a gay character played as free of simpering and mincing as this one. The character's sexuality seems to be an open secret in some circles, and the characters in the film don't really seem to care about it--but the gay character knows what will happen if the public were to hear about it on the radio, and he is panicked enough about it that he seems to be willing to resort to any means to prevent his career from being destroyed. These days, it seems many musicians would use their homosexuality as a selling point instead of viewing it as something that could destroy them.
All in all, while a key part of the mystery in "Take the Stand" has been copied to the point of becoming a cliche, there are still enough here to make it worth your time to check out.
Wednesday, February 27, 2019
It's Ms. Captain Marvel!
In anticipation of the upcoming "Captain Marvel" movie, here's a portrait gallery of Carol Danvers in her two Ms. Marvel outfits, and the one she wore after she became Captain Marvel.
Jessica Drew, better known as Spider-Woman decided to pop by to wish Carol success with her movie (which is in State-side theaters on March 7, 2019). Maybe, if fame doesn't go to her head, Carol will visit during an upcoming Spider-Woman Sunday!
Sunday, February 24, 2019
Beverley Owen has passed away
Owen passed away on Feb. 21 2019 at the age of 81.
Saturday, February 23, 2019
'Off the Trolley' is a perfect title
Off the Trolley (1919)
Starring: Harold Lloyd, Bebe Daniels, Harry "Snub" Pollard, Sammy Brooks, and Bud Jamison
Director: Alf Goulding
Rating: Seven of Ten Stars
Unpleasant characters (Lloyd and Daniels) ride a streetcar with the world's most inept driver (Pollard).
Since it's a 100-year-old silent film, some are prone to dismiss "Off the Trolley" as not worth their time. Those people would be missing out on seven minutes of nearly non-stop amazement and laughter... because this one packs in more madness into its brief running time than many feature-length comedies do at ten times the length.
Harold Lloyd plays one of those trickster characters that are lots of fun in comedies and comic strips but you know would be in prison (or dead) if they existed in the real world... and he's in fine form in this picture. From his initial encounter with hotty ticket taker Bebe Daniels on their way to work, through his slapstick escape from an ever-growing crowd of cops, his conflicts with other passengers on the streetcar, and his dealing with would-be robbers, are all incredibly funny and spectacular examples of well-timed physical comedy.
Bebe Daniels is also lots of fun in this film. I'm usually annoyed by insta-romances, but here it seems clear that all she's looking for from Lloyd's character is a "bit of fun"... which is for the best, because even if she had something more in mind, it would end as soon as she discovered what he gets up to and does to her behind her back. (Although, frankly, based on their first interaction, part of me thinks the Daniels and Lloyd characters probably deserve each other.)
Since you're here already, why don't you take a view minutes to check out this great little film, embedded below via YouTube?
Starring: Harold Lloyd, Bebe Daniels, Harry "Snub" Pollard, Sammy Brooks, and Bud Jamison
Director: Alf Goulding
Rating: Seven of Ten Stars
Unpleasant characters (Lloyd and Daniels) ride a streetcar with the world's most inept driver (Pollard).
Since it's a 100-year-old silent film, some are prone to dismiss "Off the Trolley" as not worth their time. Those people would be missing out on seven minutes of nearly non-stop amazement and laughter... because this one packs in more madness into its brief running time than many feature-length comedies do at ten times the length.
Harold Lloyd plays one of those trickster characters that are lots of fun in comedies and comic strips but you know would be in prison (or dead) if they existed in the real world... and he's in fine form in this picture. From his initial encounter with hotty ticket taker Bebe Daniels on their way to work, through his slapstick escape from an ever-growing crowd of cops, his conflicts with other passengers on the streetcar, and his dealing with would-be robbers, are all incredibly funny and spectacular examples of well-timed physical comedy.
Bebe Daniels is also lots of fun in this film. I'm usually annoyed by insta-romances, but here it seems clear that all she's looking for from Lloyd's character is a "bit of fun"... which is for the best, because even if she had something more in mind, it would end as soon as she discovered what he gets up to and does to her behind her back. (Although, frankly, based on their first interaction, part of me thinks the Daniels and Lloyd characters probably deserve each other.)
Since you're here already, why don't you take a view minutes to check out this great little film, embedded below via YouTube?
'All Teed Up' brings chaos to the golf course
All Teed Up (1930)
Starring: Charlie Chase, Thelma Todd, Dale Henderson, Carl Stockdale, and Tennen Holz
Director: James Horne
Rating: Seven of Ten Stars
Starring: Charlie Chase, Thelma Todd, Dale Henderson, Carl Stockdale, and Tennen Holz
Director: James Horne
Rating: Seven of Ten Stars
A socially inept banker (Chase) decides to take up golf. A chance encounter, and romantic chemistry, with a young woman (Todd) gets him invited to play on the course of an exclusive private club.
"All Teed Up" is a social comedy that uses golf as its source of humor. When it was made, the sport of golf had transformed from something played by an elite few to a national craze, and everyone from the struggling middle class on up were picking up clubs and knocking balls around. Charley Chase's character seems to be conceived to be a caricature of an average white collar worker hoping to be part of the new Big Thing even if he knows nothing about it. The three men he plays against, and tries to befriend in his inept and highly annoying way, are also caricatures of typical golfers, and they grow so frustrated that this clueless newbie is beating them that they start cheating. Despite the chaos he ends up causing, Chase's character is so guileless that viewers can't help but always be on his side as the film unfolds. Although some of the sequences during the golf game go on for a little too long and become repetitive, they never get boring because Chase's character is so likable. Heck, he's so likeable that you'll find yourself saying "good job" as he finally snaps and throws a temper tantrum (and yes... he does swear to a degree that might give the film a PG rating!)
One of the things that made this film very interesting was the scenes featuring Thelma Todd at the beginning and the end. Although Todd doesn't do much other than react to Chase being goofy, it's a clear demonstration of how well the two played off each other. Her appearance in this film is also a clear example of how she could light up the screen by just being present.
"All Teed Up" is one of several films where Chase and Todd are teamed up. Producer Hal Roach was so pleased with Todd's performance that by 1931 he had given her a comedy series of her own where she was one-half of a female Laurel & Hardy or Wheeler & Woosley team, first with veteran comedienne Zasu Pitts and later Patsy Kelly as her co-stars. Most of Todd's appearances with Chase are included among the 17 films in the Charley Chase at Hal Roach: The Talkies, Volume One set. I'll be reviewing more of these shorts as The Year of the Hot Toddy continues!
One of the things that made this film very interesting was the scenes featuring Thelma Todd at the beginning and the end. Although Todd doesn't do much other than react to Chase being goofy, it's a clear demonstration of how well the two played off each other. Her appearance in this film is also a clear example of how she could light up the screen by just being present.
"All Teed Up" is one of several films where Chase and Todd are teamed up. Producer Hal Roach was so pleased with Todd's performance that by 1931 he had given her a comedy series of her own where she was one-half of a female Laurel & Hardy or Wheeler & Woosley team, first with veteran comedienne Zasu Pitts and later Patsy Kelly as her co-stars. Most of Todd's appearances with Chase are included among the 17 films in the Charley Chase at Hal Roach: The Talkies, Volume One set. I'll be reviewing more of these shorts as The Year of the Hot Toddy continues!
Wednesday, February 20, 2019
The Amazing Ms. Marvel!
Before she got promoted to Captain, Carol Danvers was a Ms... but she was still a Marvel!
In preparation for the upcoming "Captain Marvel" movie, here are some portraits of Ms. Marvel as she appeared in 1970s and early 1980s (before Chris Claremont and the editors at Marvel Comics literally had her abused and raped).
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| By Gene Gonzales |
In preparation for the upcoming "Captain Marvel" movie, here are some portraits of Ms. Marvel as she appeared in 1970s and early 1980s (before Chris Claremont and the editors at Marvel Comics literally had her abused and raped).
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| By Darrel Young |
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| By Rodrigo Rosa-DeSosa |
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| By Aaron Lopresti |
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| By Buzz |
Monday, February 18, 2019
Musical Monday: k.d lang
Here's one of k.d. lang's better-known songs. I confess to not understanding how the vaudeville-esque show going on in the video connects with the song (I have an idea, but I am not convinced I'm right), so if you have an idea, I'd love to hear it.
And speaking of "Tomorrow Never Dies", here's the best James Bond main titles song you've never heard. (It was relegated to the end credits of the movie for which it was written and performed. Instead, the film opened with a tepid song performed by Sheryl Crowe.)
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