Toy Story 4
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This one asks the question: what if Stephen King became a god because his devoted fanbase really believes in him, and believes in what he writes? Okay, I'll bite, so where does this go from there? While the film certainly is derivative of King's approach this film lacks having a point as King is wont to do sometimes. So yeah, the writing sucks, and sunk this work. Neill and Prochnow deliver worthy performances
There are two movies in one here: one is a nonsensical spy/chase thriller about an ex-government agent (Kirk Douglas, the Matthew McConaughey of his era) searching for his kidnapped son (Andrew Stevens), and the other concerns a young woman (Amy Irving) who is horrified to learn that she might possess some undefined psychic ability. It's a popcorn muncher of a work, light entertainment at best, or it's a long Kirk Douglas selfie delivered especially to you. Brian DePalma directs and keeps things moving, but don't think too hard.
Gene Autry in a dual role, one as a snobby Western cowboy actor, and the other as that actor's "regular guy" stuntman. Can the stuntman step from the shadows and become his own man? Or, as the film might more better be known as: Gene Autry rides a horse. Boring, unless you're a film history buff and simply like watching the old-timey stuff.
David Cronenberg's first feature film riffs on George Romero's zombie pastiche as social commentary, only taking it in a personal direction, in this horror film about one of those super-deluxe apartment complexes wherein security measures actually work to trap people inside when an emergency arises. Low budget? You bet. Overtly salacious? C'mon, you know it. Disturbing? Hoo boy! This is one of those cinema-as-a-survival-exercise works = can you make it through the thing without upchucking yer dinner? Yah, it's fun.
Hollywood uses the fame of silent film star Pearl White as an attraction, and a starting point, in this musical Betty Hutton feature. It's tailored specifically to Ms. Hutton's talents and that it does very well. Those looking for a documentary about the life of Pearl White should look elsewhere, but the work does convey something of what the early days of the silents may have been like. Charles Demerest is excellent as a cliché