Quick reviews for recent stuff (Dead Reckoning! Get Carter! The Sandman!) and to misquote a Spielberg movie, I’m gonna need a bigger shelf unless I stop buying 4K discs…
In lieu of writing ‘proper’ posts, here’s a summary of where things are at lately. Hopefully genuine review posts will follow, but time being what it is lately (Einstein reckoned time is relative, and here its pretty short of late), I thought I’d get something out there.
First of all, I’ve had a bit of a mad splurge over the last few weeks on some Kino 4K titles on import (joining The Good, The Bad and the Ugly and For A Few Dollars More which I bought months ago). This bunch are mostly noir titles; the three-disc Touch of Evil, Kubrick’s dabbles in noir The Killing and Killer’s Kiss, with the Billy Wilder classic Some Like It Hot. These are all upgrades, double-dips (dear God, the Wilder is a triple dip, I had it on DVD too) of various Blu-rays bought over the past several years, something I’m increasingly wary of these days. But aren’t those slips gorgeous? Currently box-art seems something of a lost art so its especially lovely to see original artwork being used (The Killing actually has a reversible cover in the disc case, as I showed on my recent review). As well as The Killing, I’ve watched Some Like It Hot, and yes it too looks damn fine in 4K- its surprising how good these b&w titles look in the 4K format (as if we needed further proof how gorgeous Marilyn Monroe was). The contrast, grain management, improved gray scale, all impress, and Kino seem to have gone nuts on the bitrates, way over the top (compare that to Disney releasing the near-three hour Heat on 4K using a BD66).
I only saw Killer’s Kiss on Blu-ray a few months back. The film was made prior to The Killing and being less than seventy minutes long, it was included as a special feature on Arrow’s The Killing Blu-ray which I bought back in 2016, but I never actually watched it. I think I was misinformed by Internet opinion that it was lesser-tier Kubrick not worth bothering with, that The Killing was widely considered Kubrick’s first ‘proper’ film and first worthy of note: I suppose Killer’s Kiss being relegated to the special features menu only reinforced this view. Anyway, I finally got around to it; I knew there was a boxing element and was pointed back in the film’s direction after enjoying Robert Wise’s The Set-Up a few months back. Well, diminished expectations and all that, but I absolutely loved it, probably for all the reasons so many disparaged it. Raw, low-budget, with a brisk (for Kubrick, positively frantic) pace, a bare-bones story shot like a docudrama with amazing footage of a lost New York, foreshadowing stuff like Taxi Driver. The only thing holding me back from a gushing review post here back when I watched that Blu-ray was suddenly learning only days later that Kino was releasing the film on 4K, so I decided to wait and will continue to wait until I’ve seen it again on this 4K disc. I’m really looking forward to it, but just waiting for the perfect time.
Which is a bit of a sour point: the best time to watch these noir (especially in 4K) is late at night when its dark and these long hot summer days are not conducive to that. What’s that line in a film about mood – ah yes, Gurney Halleck in Dune; “Mood? What’s mood to do with it?”, but its true about movie watching (if not fighting); one has to be in the correct mood for a particular kind of film and bright summer days/evenings- well, unless you’re watching something like Lawrence Kasdan’s Body Heat, which was made for hot summer nights. Besides, by the time its late/dark enough, I’m usually too tired to watch a demanding film, and noir ARE demanding, usually quite complex and nuanced and narratively pretty dense for their usually short running-time. Case in point, I recently tried watching John Reinhardt’s The Guilty a few weeks back and damn near fell asleep near the end – my wife actually did fall asleep, missing its last fifteen minutes and I’ve ribbed her endlessly ever since regards her missing its major twist. “You’ll never guess!” I’ve teased her. There’s a film that deserves a proper rewatch soon as possible.
Hmm, yeah, some more purchases. Here’s me claiming to reign it all in regards buying discs, and sure, I’ve (mostly) stopped the blind-buys but of late that’s only transferred my wallet’s woes to the upgrades/double dips: here another Billy Wilder classic upgraded to 4K (this time courtesy of Criterion) and Flicker Alley’s The Guilty/High Tide double-bill (in the latter’s case, I’ve elected to use the original art on the reversible cover). Criterion’s Double Indemnity rather annoyed me- not the disc or the film, but because over here in the UK, presumably due to licensing issues (or the duplication costs?) Criterion only released it on Blu-ray (I have the old Eureka edition). So in order to get the 4K edition released in the States that everyone was raving about I had to grudgingly import it, complete with two Blu-ray discs locked to Region One that I can’t watch (so I’m keeping that Eureka set for some of the extras, but that true of Arrow’s The Killing disc and my Blu-ray of Some Like It Hot). Goodness, no wonder my shelves are filling up, I’m buying new upgrades and keeping the old discs too- madness.
Anyway, enough of my foolish financial woes, I’m just partying before the recession and Autumn of Discontent (see what I did there?) puts paid to my collecting. On with some quick reviews.
Dead Reckoning (John Cromwell, 1947) – first film from Indicator’s Columbia Noir #5 set, and allegedly one of the few genuine noir films in the set. Bit alarming, that. I never warmed to Humphrey Bogart, so haven’t seen many of his films. In fact, I can only name a few films of his I actually liked; In A Lonely Place for one, and another that I first saw on television decades ago, The Treasure of the Sierra Madre, which is a Blu-ray gathering dust on the shelf that I keep meaning to watch, but… Anyway, something about Bogie just rattles me. Maybe this box set’s contents will feature a film that will warm me to his charms more, but Dead Reckoning isn’t it – unless of course this is another example regards mood. Maybe it was just the wrong film on a warm summer night. Shame, its a great title for a noir. I was especially disappointed in Lizabeth Scott, who I’ve seen and been impressed by before. Here she was ill-served by an underwritten character (likely deliberately underwritten to enable/underscore the surprise twist) leaving her with little to work with- I suppose someone like Rita Hayworth (originally conceived of for the role) would have gotten by better from sheer screen charisma and presence, but Scott just doesn’t have that. Also, I just couldn’t see any chemistry between Bogie and Scott, and a film whose success largely depends upon the romantic tryst between two characters is in trouble from the start when the chemistry seems lacking. Is it wrong of me to note that I thought I would have enjoyed it more had it featured Glenn Ford (no stranger to this kind of noir) in the lead role?
Get Carter (Mike Hodges, 1971) – No casting issues with this film. Don’t ask me how/why I never saw this film before, but we all have these oversights/black holes in our moviegoing street-cred. Release by BFI in a simply gorgeous 4K edition that is so tactile you feel you can reach into the screen and touch it, and smell the beer and aftershave, sweat and cigarette smoke- it’s excellent; its another case of a film likely looking better than it did even when it first came out. This is such a film of its time, its like some kind of time machine physically taking us back, and who’d really want to go back to Newcastle circa 1971? What a cast (Ian Hendry brilliant yet again, and what a shocker seeing Michael Caine chucking that bloke from Coronation Street off the carpark roof), and what a gorgeous jazzy score (that main title sequence is sublime). Here’s a film that I was ready to rewatch as soon as it finished.
The Sandman: Season One (Ten Episodes, 2022) – I don’t know what’s more shocking- that someone actually managed to make a decent live-action adaptation of Neil Gaiman’s comicbook classic or that somehow its on Netflix, but then again, it is the home of Stranger Things… Its been well over a decade since I last read Gaiman’s opus (I bought the graphic novel paperbacks so long ago it was from a genuine bookstore) and a lot of my memory of it is burry, which was rather curious seeing it onscreen thinking “oh yeah, they actually did that…” or “I don’t remember that at all” so I can’t comment regards how authentic it was. It wasn’t perfect though, I have to confess I was bit bothered by some of the casting choices- it was a great cast and I’ve no complaints, but John Constantine is now Johanna Constantine, played by Jenna Coleman? And I had a bit of a hard time keeping a straight face watching Gwendoline Christie as Lucifer, of all things. Maybe they’ll prove me wrong in subsequent seasons or the inevitable Johanna Constantine spin-off (call me a cynic, but the writing/casting for that episode had “pilot for a spin-off” written all over it). Those caveats aside, I did enjoy the series; even the music was good (shades of BR2049 in places and ‘nowt wrong with that). Inevitably the highlight of the show (and if you only watch one episode of it, make it this one, its pretty standalone) was The Sound of Her Wings, the sixth episode and an adaption of likely most readers favourite issue of the comic. Should have been retitled The Sound of An Emmy, because it surely deserves a nomination at least.
Nineteen Eighty-Four (Rudolph Carter, 1954) – this BBC adaptation has always been on my radar if only because it starred Peter Cushing, one of my very favourite actors (my unofficial quest to watch everything he ever did continues slowly apace). I bought this new Blu-ray edition (from the BFI folks) a few months back but watched it just a week or so ago… I intended to write a proper post about it, even tried, but… goodness this was so depressing. Its through no fault of the adaptation (by Nigel Kneale, of Quatermass fame) its limited production values (mostly a live performance thankfully recorded for posterity), or its cast, but more the horrible inescapable fact that George Orwell’s cautionary tale is as timely now than ever- perhaps more so. Real-life events of the past several years, just how the world has slowly changed largely for the worse, makes something like this all the more prescient and important. Its horrible, like a warning from a future that just feels just more plausible than ever.
And while on the subject of warnings of the future, it looks like Roland Emmerich’s Moonfall is coming to Amazon Prime on Friday. I can hardly wait. Its got such a crazy, ridiculous premise, I’ve so wanted to subject myself to its cheesy silly horrors while avoiding spoilerific trailers. There’s a thought: am I the only person alive actually avoiding spoilers for Moonfall? Emmerich’s The Day After Tomorrow is one of my favourite bad movies, it was all I could do to refrain from buying it on Blu-ray disc when it was released a few months back (maybe if had been on 4K over here in the UK, I would have given in to its despicable allure, but it was limited to DVD/Blu-ray). Anyway, that’s my Friday (or Saturday) night sorted then, and possibly will be my next posting here; yes, be afraid, its Moonfall next, unless I get some time to sit at this laptop again beforehand.