1408

You may wonder if 1408 is Steven King revisiting his seminal work, The Shining. In a ways it is. Creepy hotel. Creepy hotel workers. A writer loosing his mind or is he? All themes and signs that King has worked into his writing throughout his career. If I told you that 1408 was nothing more than a cheap imitation of The Shining, would it surprise you when I told you it isn’t? Perhaps not, but you can still guess all the plot threads in this film.

John Cusack is an unheralded writer in the throes of finishing out his career as the go to guy for ghost hunter guides. He debunks supposedly haunted places. Out of the blue, he receives a card not to spend a night in the titular room of the Dolphin Hotel in New York. After researching it, he has to find out why he shouldn’t and visits anyway. He spends the night in the hotel room. Does he get scared out of his mind? He goes crazy for the hour. And the ghosts and the room get to him.

I read a lot of ghost stories in my time. I can imagine this one as a story rather than a movie. It would seem to have fit in with the later day stories. Not the Victorian ghost stories that I dearly love. They all have a sceptic who falls into a frightening place, and eventually comes to believe in the supernatural.

This movie had some scares. I am glad for it. Because of the prevalence of the new wave of slasher/torture pics coming, the horror genre didn’t seem to be for fun. The movies have been given to being about the violence. Like pulling the wings off a fly for the sake of being sadistic. 1408 was a throw back to just plain atmospheric creeps. No cutting throats or half-sawn faces. Just trying to say, “BOO.”

BOO!

It won’t scare you, but it will on occasion make you have goosebumps. And that’s good enough for me.

3 of 5 stars.

Recently Seen In Theatres

Fantastic Four: The Rise of the Silver Surfer.

The first one was boring, but given that it has to establish the characters, their relationships, and the milieu they’ll be functioning in, it can be slightly forgiven for being too expository. Slightly. But I’m not the one to accept it. The first one was listless and the plot stank.

Sequels should be much better. There’s no longer a need to establish the situation. They should hit the ground running and therefore they should generally be a rocking good time.

This one wasn’t. It retained the boring, listless atmosphere of the first one. It also makes the mistake of making the Silver Surfer into the most boring of characters. I mean, come on, the Cosmic Force. What happened? Also, Galactus as a cloud was plain stupid. That was really the reason why I wanted to see it. I was interested in who would be playing Galactus. I was hoping for Bruce Willis, but a cloud of smoke. It seems that Lost’s smoke monster has got a really good agent. Coming soon to the multiplex near you smoke monster in Dukes of Hazard 3!

Jessica Alba with blue eyes is extremely disturbing to look at. She should not act anymore. She should just be a Maxim girl. The dude who played Reed Richards, Mr. Fantastic, was struggling to put on brave face. The show must go on.

The problem with the Fantastic Four franchise is that the writers and director do not believe in the comic book. They seem to have abandoned the stories of the comic for something not quite like it. A fake and a no good facsimile of the Fantastic Four just plain sucks.

2 of 5 stars.

Pirates of the Caribbean: At World’s End

What can be said about this third installment? It’s a bloated, disjointed movie. I couldn’t keep up with the various double crosses throughout the movie. Who was backstabbing whom? I don’t know nor do I care. It left me pondering what happened to the fun and exciting pirates of the first movie. Then it left me deducing that hoboes are the new pirates and the old pirates are just world weary sailors.

I can’t wait for Hoboes of the Railyards: The Black Pearl.

2 of 5 stars.

Ocean’s 13

Ocean’s 13 is another of the dreaded third installment of a trilogy that seem to have infected the movie theatres this summer. In this one, Danny Ocean and his band of con-men have come back to Vegas to avenge the honor of one of their own who was put into the hospital after a deal had gone sour. By coming back to Vegas, the story arc has come full circle. It tries to capture the magic from the first Ocean’s movie, but it fails to be as inspired as that one.

The key to these films is to know that they all have fun happens. And this one didn’t have much fun. I think it was because of the lack of Bernie Mac and too much of Matt Damon. Did you notice that he’s the one who fools around with the girl? So the first had George Clooney, Brad Pitt the second, and this one Matt Damon’s turn. Plus, he doesn’t get the girl in the end. Ellen Barkin’s character was used for laughs. She was treated very respectfully and in a film with guys you needed a girl for some balance. They should’ve hit her on the head or punched her in the face. With the way they treated her it wouldn’t have seemed out of place.

Anyway, this installment was just so-so. Neither exciting like the first or embarrassing like the second. It just went along, to make it’s money.

3 of 5 stars

Joy of Parenting

Like other weekends of the year, this weekend I saw a movie. The one where the young woman goes out for a wild night on the town, drinking, dancing, and carousing with young men. Eventually, when she sobers up from her night out she finds out that she’s pregnant. The imminent arrival of a baby causes much trouble. Hilarity ensues. It had me laughing.

The Miracle of Morgan’s Creek is another of the Preston Sturges oeuvre that I received in my Netflix queue. What you thought I was talking about Knocked Up? Wait a second and I’ll get to it in a minute. The Miracle of Morgan Creek has a similar and familiar plot to that of Knocked Up, but the morals are distinctly rooted in the forties.

The young Trudy Kockenlocker (great name) finds herself pregnant AND married (I told you it was the forties) after a night of seeing the service men off to war. A combination of champagne and a knock on the head causes her to do the foolish thing of marriage and sex. In the morning she can’t remember his name. She used a fake one herself so she’ll never know who’s on the marriage license. Scandalous! It’s a low down dirty shame if the town finds out. She spends the film trying to enlist the help of her 4F childhood sweetheart, Norval Jones. Scheming with her younger sister to make her situation legitimate, they plan another sham marriage for the license. Then she can divorce the serviceman and marry Norval and make her pregnancy respectable for her, her familiy, and for the town. I told you it was old timey.

The Miracle of Morgan Creek is very much another of Sturges’s comedy of remarriage in which the second marriage makes the first one legit like The Lady Eve. Although he wasn’t married to her at first, Norval eventually gets to be the husband as decreed by law. It’s all tidied up nicely. This is a wonderful funny film. In fact, it was a big hit the year it was released in 1944. The funniest thing about it is how it got through the censors of the Hayes office. It’s basically a girl who got drunk and pregnant. That’s got to be against the code. She also wants to perpetrate bigamy, dual marriages at the same time. Weird that they could make a movie with such topics in that era. Perhaps the comedy genre makes it more acceptable. It’s a farce so what can be wrong here.

Anyway, it’s got wonderful performances. Betty Hutton does the hysterics of the knocked up Trudy Kockenlocker (great name). William Demarest as the beleaguered father puts up with it all. Dianna Lynn the younger sister, Emmy, gets to be the smart gal, saying lines that wouldn’t seem out of place coming from Jean Harrington (The Lady Eve). It’s all so fun. And funny. Sturges does it again.

I also saw Knocked Up. That ones funny, too. It was riotous. Like Sturges who relies on a cast of regulars, Judd Apatow, has his regular troop. It’s great to see these dudes working. Triumphing over the dumb tv execs who didn’t have the sense of knowing comedy gold if it smote them over the head like a hammer. I would say that Apatow follows the footsteps of Sturges. He writes and directs his own stories. After Knocked up becomes the comedy hit of the summer, he may also be considered a comedy genius.

It too starts with a night on the town where the girl has sex and gets pregnant. Yet unlike the forties, there is no marriage then sex. Just sex. Marriage maybe later. The wonderful modern world. Except what was queer about it is that the morals are just as conservative as they were back then. She doesn’t think about a shma-shmortion. She wants the baby to have a father engaged in the child rearing. Even the fact of marriage comes up to make it all work out. Would it have been any less funny for the girl not to need a man to make it all fine in the end? See Waitress for that. That’s what was bothering about the film. She didn’t need him. And he didn’t need her. In fact, when you think about it. The plot is straight out of a sitcom. Or it could be the basis of one. A more realistic plot would’ve been nice, but perhaps its just as big a farce as one of Sturges’s work. I wonder if Knocked Up’s modern setting makes it harder to imagine if it was a farce.

There are some truly hilarious scenes. The pregnant sex. The crowning. Vegas on shrooms. Doc Brown. Then again, Apatow likes his movies long. Should comedies last longer than two hours? The best I can say about that is this one didn’t feel as long as his other films. The 40 Year Old Virgin was 30 minutes too long as was Ron Burgundy and you knew it. Knocked Up didn’t feel like it. Some scenes could’ve been excised, but it seems that Apatow has learned to move things along. Thank god.

I should’ve put my Waitress review here too. It seems to fall into this film genre, the unexpected mother. Weird that I would see a set of disparate films with the same plot. When are the hobo films coming then?

The Miracle of Morgan’s Creek: 4 of 5 stars.
Knocked Up: 4 of 5 stars.

Sullivan’s Travels

Ants in Your Pants of 1939 sounds like a fantastic movie. If it was real. It’s one of the funny films directed by John L Sullivan. It’s such a great money maker for his studio that the execs want him to direct another comedy, perhaps Ants in Your Pants of 1941. Sullivan doesn’t want to. He wants to direct a movie with pathos and gravitas like a Capra film. And maybe with a little sex in it. But he doesn’t have the life experience to direct such a movie. What does he know? So he outfits himself as a hobo and goes in search for that American experience. Hilarity ensues. That’s the film in a nutshell. The film he wanted to make was “O Brother, Where Art Thou?” Needless to say it doesn’t get made because of the epiphany he experiences in his search for hobo gold.

Sullivan’s Travels was Preston Sturges’s film after The Lady Eve. It’s one of several films he wrote and directed during the 1940’s which was a very creative and fruitful period for him. I bought his box set that not only had both The Lady Eve and Sullivan’s Travels but five other good films. Each one hilarious in their own right.

If you like movies with some really good dialogue, you can’t do better than one of these Preston Sturges flicks.

4 of 5 stars.

Adventures From My Netflix Queue: Alien Autopsy, Fact or Fiction

The problem I had with this “expose” was that they talked about the film, but only show several minutes throughout the entire show. If it was a real film they would’ve filmed the entire autopsy from beginning to end.

Also, what was purported to be film looked like grainy video. Couldn’t they at least shown it as film?

It’s all fake.

1 of 5 stars

Waitress

I am always down for a Kerri Russell flick.

In this small, quirky film (it debuted at Sundance) she plays a waitress in a small town pie diner stuck in a bad marriage. She bakes pies, gets pregnant, and has an affair with her OB-GYN. And she looks as cute as ever.

But back to the film. It fits as one of those Sundance films. I haven’t been this charmed by one of these types of films since Ruby in Paradise. It may seem overly trying at times, but the sweetness of it wins you over. Kerri Russell was winnning as the main character. She bring back Felicity who’s been sorely missed. The supporting cast worked well.

4 of 5 stars.

28 Weeks Later

Contrary to what Marge says, I wanted to write up my review, or thoughts on, 28 weeks Later

In most horror films, there is the jerk. The character that does things against the grain in service of selfish ideas rather than in service of the survivors, like Burke in Aliens or Ed in Shaun of the Dead. It’s the character you want most to die, and to be there when it happens in the most gruesome of way. In 28 Weeks Later, I felt that the two kids where that character. If not for their own selfish reasons, this movie would’ve been over in half the time. They were the prime motivators for killing off the human race, but they shouldn’t have survived. They should’ve died the gruesome death of the jerk onscreen for us to cheer. I would’ve liked the movie that way. I couldn’t like this movie when the characters I really wanted to live didn’t.

Plus, there were plot points that made no sense. Why did it take hours to find the children in a deserted London? Why is the US Military incometent? How on an island can you let zombies escape? WTF?

The movie is badly plotted. And the twist, which I thought wasn’t going to happen, happened. And I called it when I did not want to believe it. That’s what killed it for me.

2 of 5 stars.

“Yo, man, Spidey is a byotch! Batman wouldn’t’ve cried!”

Spiderman 3 is no Spiderman 2. It took the momentum built from the last movie, “Go get ’em tiger,” and threw some grit and Sandman into the gears grinding the franchise to a halt.

The biggest problem was Sandman. I was at the comic shop this weekend where they had lots of old time Spidey comics on the wall. Issue 2 was Doc Ock. Issue 1 must’ve been the Green Goblin. Issue 3 was, guess who? The Vulture, but issue 4 was Sandman. So they producers felt they had to stick with the schedule of villains established by the comic book. But Venom is a fanboy favorite, and was added to the trilogy to appease them. So it feels like they started with the Sandman as the prime villain, found out his story was weak, and added Venom. It results in an uneven story.

We first get Sandman. But did I mention Green Goblin Jr? He’s in it and his story line takes the most unconvincing turn of all. Back to Sandman, he’s a two-bit crook on the lam to see his daughter. That’s it, and by the way, he also killed your Uncle Ben. Hunh? Did he really kill him or did they make that up for the movie? Fanboys, help. They needed that in order for Spidey to work himself up for a showdown. Sandman then gets defeated at the two hour mark about which I wanted thought the ending should’ve occurred. He shows up in the last reel though to team up with Venom and kick some Spidey ass. Lame.

Venom was also problematic. They had to explain the entire emotional change in Peter Parker without losing time for Sandman bits. Peter becomes emo boy without the eyeliner. So after Sandman disappears, Venom takes over, but it was plainly a compression of a longer story arc from the comic book and the measly half hour it got didn’t do it justice.

Raimi I respect for making the first two very fine comicbook movies. He had a lot here to handle. Bottom line they should’ve had one villain. I think with the third installment they should’ve gone for the tried and true final act by redoing the first movie (see Indy and Star Wars for hints).

Caught this in the last showing on opening Friday. The audience was looking for a better time. I think plenty of people were disappointed judging from the number of people leaving before the first fake out ending occurred. It didn’t stop them from running to the doors after the second fake out ending, also.

3 of 5 stars

Adventures From My Netflix Queue:Lady of Burlesque

The movies that I really wanted to see over Memories of Murder starred Barbara Stanwyck. The latest one is Lady of Burlesque.

From the sound of the title it would’ve had to take place when burlesque was big. Early on in the thirties. Yet, as Miss Stanwyck makes her appearance, I expected the pretty, young thing, but it was the mature Miss Stanwyck. I found out that this movie was made in 1943! A few years from Lady Eve and just before Double Indemnity. So this is how some of her non-classic films were like. It’s a B movie! Yet, guess again. It was nominated for an Oscar in the song category “Take it off the E String. Play it on the G-string” which Miss Stanwyck sang. WooHoo!

The plot centers around the backstage shennanigans of a burlesque grind house, and then the ladies get involved in a murder straight out of a Scooby Doo mystery. “I would’ve gotten away with it, except for these meddling ladies of burlesque.” The murder mystery was pretty thin. As was the plot.

The funniest part of watching it was that I was expecting a pre-code movie. Of course, being made in 1943, it adhered to the code of ethics of the day. Just imagine how much “burlesque” they could show. Nothing. Zip. Zilch. For Miss Stanwyck’s song and dance, she did some bumping and grinding. Or at least that was what was hinted at. Cut to the audience. She shakes it, but only in your imagination.

Lady of Burleque isn’t bad, but it’s only for those hardcore Stanwyck fans.

3 of 5 stars.