Bad Boys for Life
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The most audacious thing here is that Wertmüller allows the central character to be neither a saint nor even just a regular person, he's a cad, a liar, and a murderer who survives WWII by doing so much worse.
One of the craziest screwball comedies ever made. Preston Sturges appears to have pitted Eddie Bracken and Betty Hutton in a contest to see which of them could be the most hysterical in any of their scenes together (spoiler, its always Bracken).
It's an ingeniously constructed thriller. Kurosawa's obsession with the small details here pay off in unexpected ways (i.e. the single use of color in an otherwise black and white film).
A deeply complex epic that avoids the often cheep romanticizing you get from similar films made during WWII. Certain sequences (i.e. the duel) are way ahead of anything else being made at this time.
More fun than I anticipated. Yeah its kind of a mess but the movie embraces its full tilt weirdness in ways that are a little surprising.
An important milestone for special effects but there's not much else to keep it all that engaging anymore.
The movie gets undermined by its overabundance of characters and melodrama as if the filmmakers didn't trust the core of the story to be dramatic enough.
Wertmuller made something genuinely confounding here with class and gender dynamics colliding in the strangest ways. I often found it shocking yet still engaging although I wouldn't blame anyone who couldn't stomach the movie.
The action sequences vary in quality but there are moments that feel new and even a little transgressive, which is surprising.
Appropriately angry as it is one of the definitive films of the British New Wave. Tom Courtenay gives a hell of a performance, especially with his eyes.
A joyously funny Feminist re-examination of Dickinson's personal life.
A thoroughly strange noir. The resolution is a bit muddled but before that point the protagonists' instability creates a hallucinogenic atmosphere. You're just never sure what is real.
In many ways the movie is typical melodrama of its era, however George Stevens' direction and the editing are anything but. Also, there's no real moral center of the story which only enhances the tension.
Not really a satire of "Patriotism" but there's still interesting commentary on how easily one can loose a narrative especially when a frenzied mob is involved. Eddie Bracken should have gotten more leading roles like this one.
I don't really have an issue with the schmaltzy Hallmark movie of the week aesthetic but this whole thing is centered around a twist so baffling and awful that it never recovers once it is revealed.
Gene Kelly's influence on the choreography is obvious with several sequences joyously escaping the staging conventions of the time.
Sayles strikes the right balance of realism and hope here. Per usual he assembles one hell of a cast.
Probably a little too long but I appreciate that Norton made his main villain a lightly fictionalized Robert Moses and had the good sense to cast Alec Baldwin in the role.
Erivo's great (obviously) and the movie is better than just some run of the mill biopic, even though it certainly has elements of one. Kasi Lemmons sees Tubman as a force of nature and the best scenes lean in to that perspective.
Great performances trapped by a mediocre and predictable screenplay.