Sarah Woods Mystery Series (Vol 4) by Jenifer Jennings
JOHN: I don’t know when I’ve enjoyed a series more. Perhaps, it was read after several books I didn’t care for. But finding this series of four novels just satisfied me right.
SPANKY: There is a rather intriguing subplot. Sarah Woods falls in love with her expoliceman, detective.
JOHN:The surface plots are suspenseful and fast moving.
SPANKY: And all deal with sex.
JOHN: A missing fiancé, under disguise taking care of a comatose father. A pregnant woman murdered by a family member. Men interested in pre-teen females.
SPANKY: But we wonder what is going to happen on all levels. Usually a series is successful then follows the winning formula too closely. Not this one
JOHN: Good reading that will have you thinking about the characters days later.
JOHN: This is what movies could be but choose not to—like a nightmare you wake up from and wonder if it were real.
SPANKY: There are three things that stay with you years after leaving it: 1) the protagonist walking along after his father’s stroke and finding a cut-off ear in the grass, 2) the songs “Blue Velvet” and “In Dreams“ performed with their weird context instead of blaring off of a portable radio, 3) Isabella Rosellini telling her young savior to hit her making love.
JOHN: And he does hit her. At the end, though the plot is resolved, the troubling subtext is free to go on and on and on.
SPANKY: Who would go to such a film? I’m sure that is why others never followed David Lynch. More than a romantic entertainment for date night, more than an action flick for pre-teens. A film that changes who you are and how you see life.
JOHN: Creepy, beyond what we want, beyond what we need. But we can’t look away.
SPANKY: 4 Barks out of 4
JOHN: 4 GOs out of 4
SPANKY: I know you like to go back over movies you saw at a certain time in your life, but most seem labored, dated.
JOHN: Not this one. It parallels a confusion about Vietnam we still suffer from. When I first saw the movie I wanted it to stick closer to Heart of Darkness which I had read. To see Brando at the end. Be moved by his words.
SPARKY: But now we see many more references to Kurtz throughout the film. The visuals are spectacular and at the end we do need someone of Brando’s stature.
JOHN: The fact that he doesn’t make any sense seems even more appropriate now than it did then.
SPARKY: We were looking for easy answers then.
JOHN: This is a masterpiece that goes beyond its time. The message: There is more to “the horror” than war. “The horror” is humanity.
SPARKY: Not something entertaining, but a film so important you have to watch it again. And again.
See it, see it, see it!
SPANKY: This is a superbly balanced film. We see the young, over-confident Ebert, his relationships with Gene Siskel and famous movie directors and finally the love of his wife Chaz. The movie doesn’t drag out any of these stages, and is visually stunning.
JOHN: You missed one aspect, Spanky, though I agree with what you said. There was a time and a place when movie discussion was the star. Now, perhaps the costs are too high for anyone to be unclear or subtle. We are hit over the head with whatever is offered. But once upon a Felini, Bergman, Herzog time we could stay up all night and debate. It wasn’t that we believed the directors were wrong, just that it took our participation to figure out their message.
SPANKY: And Siskel and Ebert were our models.
JOHN: I enjoyed seeing the differences between the two and witnessing Ebert’s resultant courage in allowing the camera to follow him through to the end.
SPANKY: I can’t imagine a better tribute to a man, or a better conclusion to his life. Wow, I want to watch this over and over again.
Spanky gives this 4 Barks out of 4
John, 4 GOs out of 4
SPANKY: I have never seen a more realistic movie, and I don’t mean it was just the actors growing over 12 years of filming.
JOHN: Perhaps, but I thought it felt a little too much like real life, I mean not going anwhere.
SPANKY: But it was interesting to watch people growing older. They repeated mistakes (marriages) they (and we) had already gone through. Continue reading
Posted in cult films, film, Jokes & Fun, movie review, movies, Spanky and John Go to the Movies
Tagged Boyhood, Ellar Coltrane, Ethan Hawke, Jack Lehman, Particia Arquette, Richard Linklater
Inside Llewyn Davis
JOHN: This is one of the worst movies I have seen in years.
SPANKY: And you’ve probably seen some bad ones, I know I have.
JOHN: It played at the Sundance in Madison for maybe a week. I wanted to go because, not only was it a Coen brother’s movie, but also it was about a folk singer in Greenwich Village at the start of the sixties. I went there in 1959 to be a folk singer myself. Continue reading
Posted in film, John Lehman, Jokes & Fun, movie review, movies
Tagged Carey Mulligan, Dave Van Ronk, Garrett Hedlund, Greenwich Village, Inside Llewyn Davis, Joel and Ethan Coen, John Goodman, Justin Timberlake, Oscar Isaac
Directed By: Toa Fraser, 2009
JOHN: This movie started out slow, incredibly slow, and then went places no one would expect to a Bravo climax. It is the kind of movie experience I haven’t had in years. And until it happened, I didn’t realize what I had been missing. Continue reading
Directed By: Woody Allen, 2013
JOHN: I didn’t like Blue Jasmine, and I realize everyone else has. The acting is fine. Direction, excellent, even the flash back structure that contrasts past and present seems to work.
Except there is a difference between a play and a movie—I am reacting to frequent comparisons of this to Streetcar Named Desire. With a play there are some out of town previews, revisions, attention to live audience response. A movie or novel is not known to the audience. That is until afterwards when the author or director finds out the work strikes a chord with them.
The emphasis on Streetcar may be Blanche, but it is her affect on Stanley and Stella that is the heart of the play. Jasmine focuses on the Cate Blanchett (Blanche like) character but that’s about it, and she is someone who just makes me feel uncomfortable. Continue reading
Now You See Me
Directed by Louis Leterrier, 2013
John: There are three types of movies. 1) Thought-provoking ones that often end in an unexpected way to throw the meaning and significance of the theme on the shoulders of the viewer. Think Ingmar Bergman…Felini.
Spanky: We wouldn’t waste our time on these, right John? Continue reading
John and his dog, Spanky, review books, movies, DVDs, etc.
JOHN: My friend Bob, who invited me to lunch and this movie (lunch served to recliner seats inside the theater), says Russell Crowe put on 60 pounds for the role he plays to make him seem kind of a has been for noir audiences.
SPANKY: Sounds a little like you may have gained 60 pounds too.
JOHN: Ryan Gosling smokes and drinks incessantly for the same reason, except he has a disapproving daughter, Angourie Rice, who is like a young Jodi Foster. She adds real feelings to a genre that usually sidesteps them.
SPANKY: This is another alteration to the noir tradition. The Nice Guys is the classic California noir of Hammett and Chandler, which the movie simultaneously reveres and satirizes. It’s no coincidence, for instance, that moments after a reference to a violent crime in a diner, we meet a character played by Crowe’s L.A. Confidential co-star, Kim Basinger.
JOHN: I have to say that I thought Robert Altman’s The Long Goodby marked the end of the film noir…but this one with its inspired, confusing plot, two great partners, LA setting, and an extra layer of meaning…marks its rebirth. We can’t wait for the next one. But The Nice Guys is not a movie for everyone. It is for those attuned to its sleazy vibe and sudden alternations between violence and slapstick.
Mr. Holmes – “Not Elementary”
JOHN: I have spent my whole life reading and re-reading Sherlock Holmes.
SPANKY: Too bad you didn’t have other things to do. Like feeding your dog.
JOHN: So what else Holmesian could still be said? This movie takes the next step.
SPANKY: A film featuring an old man and a young boy can’t draw audience (unless it’s UP directed at parents). Maybe that’s why it was available from the library.
JOHN: It is a post retirement Sherlock Holmes who has issues with the way the dead Doctor Watson popularized him. In rethinking his final adventure, he realizes his lack of emotion and its consequences.
SPANKY: As do readers watching the film who should have known this all along.
JOHN: But it takes a story for us to experience, rather than understand, it. See this movie.
SPANKY AND JOHN: GO, GO, GO, GO; BARK, BARK, BARK, BARK (BOTH FOUR OUT OF FOUR)
SPANKY: The Netflix rejuvenated version is great. And the plot holds up well.
JOHN: I first saw this as a kid with an audience in a small town theater who lived through the silent film days. I was struck by the exaggerated poses and facial gestures of Gloria Swanson. Now (though I still remembered some of the lines) I paid more attention to the story and how it fits movies and writing today.
SPANKY: Before we get that wisdom, didn’t you think the ending stunning. She is before the cameras—granted it is the news-media cameras—but she has come full circle.
JOHN: Haven’t we also come full circle. Longing for movies like this instead of pre-teen chase epics. Here is substance. But each generation has its needs and mine, like Gloria Swanson’ before me, has passed.
SPANKY: Television supposedly replaced movies, then cable replaced networks and now… Now we get movies for all ages and appeals over the internet. I don’t know that this forces one generation to understand the next (it is more, indulgingyourself in the familiar). But you want substance, John, and I want dog food. And those, Gloria, are words that don’t make any more sense than talkies.
SPANKY: 4 Barks out of 4
JOHN: 4 GOs out of 4