The Tomorrow War (eventually) plus various Short Takes on suggestions for TCM cable offering and other possibly interesting cinematic topics
(title taken from "A Hazy Shade of Winter" on the 1968 Simon and Garfunkel Bookends album)
Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) when they’re supportive or the OCCU (Often Cranky Critics Universe) when they go negative.
7/14/2021: If you’re tempted to ask “Well, what’s the other guy look like?,” I’ll have to admit the “other guy” is a treadmill in my condo complex’s little gym that clearly won this encounter because—due to my congenital heart condition of a bicuspid aorta value; most people have a tricuspid—as this valve’s been slowly closing up over the years I wasn’t aware it had reached a dangerous level (I did notice being a bit short of breath in recent months if I exerted myself, wondering if the awful “cold” I had in January 2020 was actually a mild case of COVID-19, leaving me with some slightly-diminished-lung-capacity, but, no, it’s more troubling than that) so I blacked out, fell on the device (the EMTs think it continued moving for the next 15 min. of its programmed time, likely the reason why my face is so scarred [along with blood on the t-shirt they had to cut off of me]). I’m fortunate a passing security guard noticed me after I’d been out for about 20 min., called 911, and soon I was off to a nearby trauma center. As I now know, my problem was with the heart value which will soon need to be repaired by some form of surgery (I’ve already been sewed up on my lower lip which I must have deeply bitten on the way down), so with that looming over me I have no idea when I’ll return to posting Two Guys in the Dark reviews (don’t count on my good buddy, Pat Craig, to pick up the slack; I wouldn’t want to spoil his no-reviews-perfect-record); however, I was already planning to announce taking next week off while I turn cook for a change (nothing fancy, just spaghetti, spinach salad, and Chianti), giving my wonderful wife, Nina, some kitchen time off while we do our annual screening over 3 nights of Francis Ford Coppola’s magnificent Godfather trilogy (1972, 1974, 1990).
When I’ll be back after that I can’t say right now, but, hopefully, I won’t be unavailable for too long. However, given that I’ve lost a good bit of my usual preparation/writing/posting time for this week already while recovering/being diagnosed under great attentive care at nearby Eden Medical Center (Castro Valley, CA), I’m going to post what I already have just to get you caught up on my situation, then I’ll update this with the review of The Tomorrow War over the next couple of days. Wish me well under the knife; I’ll be back as soon as I can (at least in this miserable photo I’m in the realm of creativity, sitting in Nina’s greeting-card-making-workspace; better things to look at there than me).
SHORT TAKES
While I don’t have another offering for you under review this week I’ll backtrack a bit to my recent comments on No Sudden Move (Steven Soderberg; review in our July 8, 2021 posting) because—while I said in that discussion it’s hard to follow in places—I wondered if I had given it a fair shot while trying to watch it as I was constantly distracted by what sounded like gunshots from loud fireworks in the neighborhood (explanation in that review as to why I was seeing it on July 4, not my original intention) which proved distracting even with our door and windows shut. So, with some free time available this previous weekend (and only The Tomorrow War, I was remotely interested in seeing), Nina and I decided to give No Sudden Move another screening (a rare circumstance for me except for revisiting true classics as we’ll be doing next week with The Godfather films) which led to my embarrassment of realizing some notable details correctly this time, contradicting things I’d said in the review. (Admittedly, it’s hard enough scribbling enough reminders to be able to bring back what I saw during any screening [inevitably leading to probably missing about a third of what’s going on because while I may be hearing dialogue as I’m taking notes it doesn’t always register properly as to accurate plot continuity], but I resist using pause, rewind, re-watch as I’m still trying to emulate the theatrical experience in anticipation of sometime relatively soon when I venture back into my local theaters]; normally, that all works out reasonably well, but, when you add the constant attack of the Independence Day revelers, I’ll admit in retrospect I just got a few things wrong in my initial posting.)
I’ve now corrected all the misspoken aspects of the No Sudden Move review, feel further assured it’s worth 4 stars, yet still defend my previous statement there’s a lot of plot complexity here which isn’t always clear (even when it’s supposed to be) as we’re moving quickly through the story, especially because there are notable characters (Frank Capelli, Hugh Naismith, Aldrick Watkins) who have important impacts on our 2 protagonists (Curt Goynes, Ronald Russo—see the review for naming the various actors) yet we don’t see most of them until deep into the film, just as there’s an unexplored backstory about Curt recently being in jail, then comes to see Clarisse (Lauren LaStrada)—ex-wife? sister?—to retrieve his suitcase, implying a lot more we might want to know but aren’t going to learn about at this time. Bottom line here: No Sudden Move is one of the best cinematic experiences of 2021; see it if you can on HBO Max; if not, at least you'll have my amended review.
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked the entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities. As I’m not sure when I’ll be back with more reviews, here’s an extra-long-dose of TCM options for you.
Baca Juga
Friday July 16, 2021
6:45 PM Body Heat (Lawrence Kasdan, 1981) Somewhat of a remake of the equally-great Double Indemnity (Billy Wilder, 1944) this is the story of a not-as-bright-as-he-thinks-he-is Florida lawyer (William Hurt) seduced by a woman (Kathleen Turner) to help kill her husband (Richard Crenna) for a fat inheritance, but after the crime his seemingly-safe-alibi weakens as other aspects of the plan also start to unravel. Steamy attraction of the criminal couple, great acting, marvelous atmosphere.
Tuesday July 20, 2021
8:15 AM Splendor in the Grass (Elia Kazan, 1961) Set in 1928 Kansas, this is the sad story of a teenager (Natalie Wood) who resists sex with her boyfriend (Warren Beatty) until marriage but in the meantime he has to deal with his scandalous sister (Barbara Loden), only for each of them to suffer various forms of anguish when the Depression hits, further increasing the ongoing drama (still plays as truly tragic, not corny, at least for me). William Inge won an Oscar for Best Original Screenplay.
5:00 PM Rebel Without a Cause (Nicholas Ray, 1955) Iconic James Dean role, a strong contender for best of his 3 powerful cinematic appearances (before his untimely death), as he plays a troubled teen whose independent streak just brings more difficulties from adults (including his parents) and a local gang, even as he tries to distance himself from his problems, escape from all of this hostility into a new life with his new friends (Natalie Wood, Sal Mineo), but further crises swirl around them.
Friday July 23, 2021
5:00 PM Blood Simple (Joel & Ethan Cohen, 1984) A great debut, for the Coens as directors-screenwriters and Frances McDormand. A detective (E. Emmet Walsh) gathers evidence of a woman (McDormand) having an affair with her husband’s (Dan Hedaya) bartender (John Getz).
Lots of double-crossing, murder, suspense, & the most fantastic roadside burial scene you’ll ever see, plus Walsh’s great line: “What I know about is Texas, and down here, you’re on your own.”
Saturday July 24, 2021
12:45 PM The Misfits (John Huston, 1961) In its own way a bit of a swan song for Old Hollywood, with script by Arthur Miller, direction by Huston, the final screen appearances of Marilyn Monroe and Clark Gable, one of the last by Montgomery Clift (Thelma Ritter and Eil Wallach are in there too), sort of a western but set in contemporary Nevada with interpersonal angst, drunkenness, desperation among the starring characters. A flop in its time, much more highly regarded today by the critics.
Sunday July 25, 2021
11:45 AM The Best Years of Our Lives (William Wyler, 1946) A richly-deserving Best Picture Oscar winner (along with a cluster of others including Best Director, Actor [Frederic March], Supporting Actor [Harold Russell], Adapted Screenplay, Film Editing, Scoring of a Dramatic or Comedy Picture, plus an Honorary Oscar to Russell, an actual WW II vet amputee), focused on the difficulties of 3 returning G.I’s each with individual problems (a marvelous example of deep-focus-cinematography by Gregg Toland; I once got a chance to talk with Wyler about his intentions with this visual style).
Monday July 26, 2021
11:00 AM A Streetcar Named Desire (Elia Kazan, 1951) From Tennessee Williams’ equally-searing play (it’s more cruel, as Hays Code-dominated films had to conform to “decency” standards), this masterpiece of interpersonal-brutality stars Marlon Brando at maybe his best but acting Oscars went to Vivien Leigh (Actress), Karl Malden (Supporting Actor), Kim Hunter (Supporting Actress), plus one for B&W Art Direction and 7 other noms including Best Picture, Director, and Adapted Screenplay (Williams). “Stella!”—what more can I say? Even with the censorship, an all-time cinematic triumph.
9:15 PM Casablanca (Michael Curtiz, 1942) Do you really need my description to know what this one’s about? If so, Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, and Peter Lorre are “looking at you, kid,” to watch it! (A movie truly defining what I consider to be a 5 stars-“classic,” celebrated for decades as a story of hope, patriotism, and making the right decision when romance conflicts with greater needs in the early years of WW II.)
Tuesday July 27, 2021
1:15 AM The Searchers (John Ford, 1956) Widely-regarded as one of the best westerns ever as well as part of the long deconstruction of the genre, this focuses on a Civil War Rebel vet (John Wayne) with a hatred for Indians especially because they kidnapped his niece as a child, killed some other relatives; he’s on a quest to bring her home, but adolescent Debbie (Natalie Wood) wants to stay with Chief Scar causing further trouble, intolerance, deaths as neither side can tolerate each other.
Wednesday July 28, 2021
9:30PM The Last Picture Show (Peter Bogdanovich, 1971) Maybe it’s because this film reminds me of my more nostalgic aspects of those many years in Texas, but I think it’s a marvelous adaptation of Larry McMurtry’s semi-autobiographical novel of growing up in an early 1950s version of the Lone Star State (filmed in Archer City, standing in for fictional Anarene) about interpersonal-interactions among strong characters played by Timothy Bottoms, Jeff Bridges, Ellen Burstyn, Ben Johnson, Cloris Leachman, Cybil Shepherd; Johnson and Leachman won the Supporting Acting Oscars.
11:45 PM Bonnie and Clyde (Arthur Penn, 1967) Great example of American film beyond the boundaries of the old Studio System with Depression Era-outlaws played by Warren Beatty and Faye Dunaway (Gene Hackman, Estelle Parsons, Michael J. Pollard also in the gang). Romanticized version of history as robbers are Robin Hood-antiheros in their day, represent anti-establishment values for ‘60s audiences; shocking bloody ending. Parsons won the Best Supporting Actress Oscar; the film also got another one for Best Cinematography. Excellent use of Flatt and Scruggs music.
Other Cinema-Related Stuff: Here are some extra items you might like: (1) New on Netflix in July, 2021; (2) New on Amazon Prime in July, 2021; (3) New on Hulu in July, 2021; (4) New on Disney + in July, 2021; (5) New to HBO/HBO Max in July, 2021; (6) Disney reveals streaming revenue for Black Widow ($60 million), but will the other streamers follow such disclosures? As usual for now I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can always search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
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Here’s more information about The Tomorrow War:
https://www.amazon.com/Tomorrow-War-Chris-Pratt/dp/B093CNZ7ST
https://www.youtube.com/watch?v=gzdm_YWwEbA (8:42 funny, fictional pitch meeting that supposedly led [sarcastically] to The Tomorrow War [ad interrupts at 2:50]; SPOILERS, though,
even as they legitimately critique several flaws in the plot), but for me the best absurd pitch for a proposed media project is found in this meta-concept-skit at https://www.youtube.com/watch?v=dvnA8Vtf3rA (NBC TV’s Seinfeld episode, “The Pitch,” [2:35] from season 4, episode 3,
originally aired on 9/16/1992)
https://www.rottentomatoes.com/m/the_tomorrow_war
https://www.metacritic.com/movie/the-tomorrow-war
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If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never tire of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
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