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Blogs NO SALE - it's called off at Nik & Nancy's - Oh dear, Nancy's got the flu!!! Sorry, we'll see you next time.

Hello to all our friends here and abroad. Sorry to say, but Nancy has the
flu that's going around San Francisco right now, so we're postponing the
sale til next good weather. Sorry we'll miss you this weekend.
Nancy and Nik

Blogs Garage Sale @ Nik & Nancy's

Saturday and Sunday, January 22 and 23 look like they will be beautiful so
Nik and Nancy are taking to their front lawn and driveway with lots of good
stuff . . .Treasures range from speaker stands and a microwave table to
costumes, cookware and lots of fun stuff.

Saturday and Sunday 10:00 AM to 4:00 PM        SALE CANCELLED IN CASE OF
RAIN OR COLD WEATHER!!!!!!!!!!

2066  30th Avenue(Pacheco & Quintara)

San Francisco

Blogs FRIENDLY PERSUASION (1956) (****)

This film won the top prize at the Cannes Film Festival. I knew this going into it and was thoroughly surprised with what I saw. When I think of a Cannes award-winning film, I think of something more artsy like ELEPHANT. William Wyler’s (THE COLLECTOR, BEN-HUR) dramedy was one before the term was invented.

Set in 1862, the film follows the Birdwell family. They’re Quakers. Eliza (Dorothy McGuire, SWISS FAMILY ROBINSON) is the matriarch of the family and a preacher for their community. Her husband Jess (Gary Cooper, HIGH NOON) is a bit of a troublemaker – at least for Quaker standards. He likes to race his horse and buggy against the Methodist Sam Jordan (Robert Middleton, THE COURT JESTER) on the way to church on a Sunday morning and he likes to play music. Eliza loves her family, but tries to keep them to the letter of the Quaker law.

Blogs THE FRESHMAN (1925) (****)

I’ve seen almost as many Harold Lloyd films as I’ve seen Charlie Chaplin films now. I’m sadly behind on watching Buster Keaton films, which I will remedy as soon as I can. This film is Lloyd’s masterpiece. It perfectly balances story, gags and pathos.

Lloyd plays Harold Lamb, a teenager who is extremely excited to be attending Tate College. He over prepares himself for school and ends up looking like a fool to the upperclassman. Harold desperately wants to be as popular as the football captain Chet (James Anderson, FLEETWING). He throws his savings at the other students to make friends, but unbeknownst to him the college cad (Brooks Benedict, SPEEDY) ridicules him behind his back. This all saddens the young maid Peggy (Jobyna Ralston, WHY WORRY?), who meets Harold on the train and over time falls for him.

Blogs EWOK ADVENTURE: CARAVAN OF COURAGE (1984) (**1/2)

This film is a total prostitution of the STAR WARS name to bring in cash over the huge popularity of the Ewoks. And as a kid I loved every moment of it. Now looking back, I can see it’s just an average kid adventure. It gets an extra half star for taking place in the STAR WARS universe.

Cindel (Aubree Miller, EWOKS, THE BATTLE FOR ENDOR) and Mace Towani (Eric Walker, LESS THAN ZERO) are two kids separated from their parents on the planet Endor. They meet up with the Warrick family of Ewoks. Of course, this is the family of Wicket (Warwick Davis, WILLOW), the cutest and must loveable Ewok of them all. The story begins with Cindel getting sick and Mace coming to terms with the Ewoks’ way of doing things. Afterwards, Cindel, Mace and a group of Ewoks venture out to save the kids’ parents.

Blogs THE WAR OF THE ROSES (1989) (***1/2)

This film walks a fine line between dark comedy and brutal tragedy. Director Danny DeVito plays the film’s narrator Gavin D’Amato, a sleazy lawyer who tells a client about the Roses as a cautionary tale regarding divorce.

Oliver (Michael Douglas, WALL STREET) and Barbara Rose (Kathleen Turner, BODY HEAT) at first had a magic relationship. But as Oliver got more successful and Barbara got more restless with her role as a housewife their marriage begins to fall apart. The film wisely understands how little things grow into bigger things in relationships, especially when the couple can’t talk about the issues or cannot see the other person’s point of view.

The film also has a wicked sense of understanding regarding how men and women handle conflict. In some of the film’s more vicious moments, the dialogue is played so close to the bone that the laughs are tainted with painful truth. The film is subtle and honest. What’s so interesting is how one’s sympathy changes from moment to moment. One moment you like Barbara and the next you like Oliver. They’re both flawed and vindictive people, so you never feel that one is truly more in the right than the other. It’s fascinating to watch them start out with a war of words, which eventually moves into physical violence. Douglas and Turner handle the material perfectly. They both seem born to play roles like these.

Blogs DEFENDING YOUR LIFE (1991) (***1/2)

This is the kind of film that just makes you smile… a lot. Daniel Miller (Albert Brooks, TAXI DRIVER) is an advertising exec who dies. In the afterlife, he finds that for a week he will be part of a “trial” that will determine whether he will return to Earth or move on to a higher consciousness.

His defender is Bob Diamond (Rip Torn, MEN IN BLACK), a cheerful man who assures the worry-wart Daniel that he’s in good hands. But Daniel doesn’t seem so convinced when he discovers that his prosecutor Lena Foster (Lee Grant, MULLHOLLAND DR.) has a bit of a rivalry going on with Bob. Then Daniel meets Julia (Meryl Streep, SOPHIE’S CHOICE) who he instantly falls for. Unlike him she is very confident.

Blogs DEEP RED (1975) (***1/2)

Director Dario Argento has been called the Alfred Hitchcock of Italy. Like Brian DePalma, he has learned from the master and pushed the envelope with violence and substance. However, with this film at least, Argento has taken his Hitchcock 101 lessons and made them his own.

Of Argento’s work, I’ve also seen SUSPIRIA, which I was more fascinated with than I enjoyed. In that film, I felt Argento went too far with his experiment on the theme of dark fairy tales and didn’t develop a solid enough plot. In DEEP RED, considered his first real “masterpiece,” Argento crafts a wonderful thriller that is often shocking with its bursts of violence.

Marcus Daly (David Hemmings, GANGS OF NEW YORK) is a pianist who witnesses a psychic named Helga (Macha Meril, VAGABOND) being brutally murdered. Helga had earlier in the day seen a vision of a murderer in the audience of one of her talks. After fruitlessly trying to save her, Marcus finds himself desperately wrapped up in the mystery, along with the plucky reporter Gianna Brezzi (Daria Nicolodi, THE DEVIL'S DAUGHTER), his feckless friend Carlo (Gabriele Lavia, INFERNO) and Helga's associate Prof. Giordani (Glauco Mauri).

Blogs TOM JONES (1963) (***1/2)

Director Tony Richardson directed the largely underrated THE LOVED ONE and finished his career with powerful drama BLUE SKY. But before those films, he directed a bawdy, best picture-winning screen adaptation of Henry Fielding’s novel TOM JONES.

Albert Finney (TWO FOR THE ROAD) plays the title character, a bastard child raised by a rich man named Squire Allworthy (George Devine, LOOK BACK IN ANGER). Tom is a free-spirited playboy, but he truly loves only one girl – Sophie Western (Susannah York, SUPERMAN). However, Sophie’s father, Squire Western (Hugh Griffith, BEN-HUR), won’t have a bastard marrying his daughter. As well, Tom’s devious cousin Mr. Blifil (David Warner, TRON) schemes to get Tom kicked out of their house. Other key characters include older damsel in distress Mrs. Waters (Joyce Redman, A DIFFERENT KIND OF LOVE), Squire Western’s snobby city slicker sister (Edith Evans, THE NUN’S STORY), the high-society seductress Lady Bellaston (Joan Greenwood, BARBARELLA), Sophie’s adulterous cousin Mrs. Fitzpatrick (Rosalind Knight, PRICK UP YOUR EARS), the angry Irish husband Mr. Fitzpatrick (George A. Cooper, BLESS THIS HOUSE) and Sophie’s maid Molly Seagrim (Diane Cilento, HOMBRE).

Blogs STEAMBOAT BILL, JR. (1928) (***1/2)

This movie proves that a great ending can really make a film. William Canfield Sr. (Ernest Torrence, 1924’s PETER PAN) is the owner of rundown riverboat. He has a big rivalry with John James King (Tom McGuire, SHE DONE HIM WRONG), the owner of a big fancy riverboat. William is excited about the impending arrival of his son, Bill Jr. (Keaton) from Boston where he attends college. He hasn’t seen his son in years. William is quickly disappointed when Bill Jr. — a very prissy weakling — shows up.

To make matters worse, Bill Jr. is in love with Marion (Marion Byron, SOCIAL SINNERS), the daughter of his father’s rival. He is pretty inept at working on the boat, which is a big laugh for sailor Tom Carter (Tom Lewis, THE GO-GETTER), much to the chagrin of his boss Bill Sr.

Blogs A SONG FOR MARTIN (2002) (***)

Alzheimer’s is the cruelest of diseases. Robbing one’s mind is like stealing their personality. The disease is so unfair to the victim and then so unfair to their loved ones.

This Swedish-language film is based on the life of composer Martin Fischer (Sven Wollter, THE 13TH WARRIOR). In the beginning of the film, Martin strikes up an affair with a married violinist Barbara Hartman (Viveka Seldahl, ANGEL FARM). The two fall madly in love and eventually get married. Soon after, Martin starts to display the quickening signs of Alzheimer’s.

The story is heartbreaking as Martin frustratingly begins to lose the ability to compose, which is his life’s blood. However, the real central character is Barbara, who must deal with the slow loss of the man she loves. At least for Martin, there comes a point when he can’t remember who he was, however Barbara is forced to deal with the man he has become. By the end, Martin is just a child.

Blogs SINBAD: LEGEND OF THE SEVEN SEAS (2003) (***)

DreamWorks’ traditional animated features all attempted to revive old classic Hollywood genres in animation. PRINCE OF EGYPT tried the Biblical epic. ROAD TO EL DORADO tried the Crobsy/Hope ROAD flicks. SPIRIT: STALLION OF THE CIMARRON tried the animal picture. And finally, SINBAD tackled the Greek myth epic adventure. I have not seen EGYPT, but I’ve seen the other three and can say that all of them are good, but not great films. They work for what they are, but they don’t step to a higher level. I’ll get to why I think this happened later.

SINBAD follows Sinbad the pirate (Brad Pitt, 12 MONKEYS) as he is forced into rescuing the Book of Peace from the Goddess of Chaos Eris (Michelle Pfeiffer, BATMAN RETURNS) after he is accused of stealing the book himself. The major wrinkle is that his best friend Proteus (Joseph Fiennes, SHAKESPEARE IN LOVE) takes his place in prison as a sign of faith, giving Sinbad only 10 days to retrieve the Book before his pal is beheaded. Tagging along for the journey is Proteus’ arraigned fiance Marina (Catherine Zeta-Jones, THE MASK OF ZORRO).

Blogs RETURNER (2003) (***)

This Japanese sci-fi adventure is like E.T. crossed with THE TERMINATOR crossed with a John Woo flick.

Miyamoto (Takeshi Kaneshiro, HOUSE OF FLYING DAGGERS) is a hitman who is seeking revenge on Mizoguchi (Goro Kishitani, GRAVEYARD OF HONOR) for killing his parents. Then a young teen named Milly (Anne Suzuki, forthcoming STEAMBOY) drops into his life… literally. She’s from the future and blackmails him into helping her on a mission that if she doesn’t succeed at will lead to an alien invasion that will destroy Earth.

The film is filled with stylish action sequences – if not sometimes eye-rolling ridiculous. But at its core, the developing relationship between Miyamoto and Milly is sweet and touching. Kaneshiro and Suzuki have good chemistry, playing the material straight, which makes it easier to believe the craziness of the plot. The film also has some interesting plot twists that keep things interesting. The film melds a lot of sci-fi genres together and has fun with them. It’s an entertaining action adventure that keeps one’s interest by having a nice take on tried and true genre conventions.

Blogs THE RED SHOES (1948) (****)

This is the best film about the ballet I’ve ever seen. It has the best ballet sequence I’ve ever seen on film. It also contains one of the most interesting characters in cinema history.

Victoria Page (Moira Shearer, PEEPING TOM) dreams of becoming a great ballerina. Julian Craster (Marius Goring, THE BAREFOOT CONTESSA) is a young composer who is furious when his teacher steals his music and he hears it in a ballet. Boris Lermontov (Anton Walbrook, 1940’s GASLIGHT) runs the ballet and when Craster comes to challenge the music, Lermontov aloofly asks him to play his music for him then gives him a job as an assistant conductor. Regarding the stolen music, Lermontov says, “It is far less of a worry to be stolen from then to have to steal.” Lermontov gives Page an audition when they meet at a party, but when she arrives he ignores her like they were strangers. This sets up the film as Victoria and Julian move up the ranks at the ballet as well as move together.

Blogs THE PUPPETOON MOVIE (1987) (***1/2)

George Pal’s stop-motion animation is some of the most influential in film history. The detail of his puppets, their movement and the grand scope of the productions are truly amazing. However, what makes many of his films so wonderful are good stories.

THE PUPPETOON MOVIE is a compilation of Pal’s PUPPETOON short films, book-ended by stop-motion animation featuring Gumby, Pokey and other famed stop-motion characters directed by Arnold Leibovit. The book-ends make you only appreciate Pal’s work more because they’re hokey and maudlin.

Musical revues like THE PHILIPS BROADCAST OF 1938 and PHILIPS CAVALCADE blend Busby Berkeley dance numbers with Looney Tunes zaniness. The level of detail in some of the scenes is spectacular. Dozens of characters are moving in a scene, meaning each one had to be moved meticulously every frame.

Blogs THE PALM BEACH STORY (1942) (***)

Preston Sturges is considered one of the screens great comedic directors. I’ve seen four of his films, including SULLIVAN'S TRAVELS, LADY EVE and UNFAITHFULLY YOURS and have enjoyed them all. LADY EVE succeeds by tying the pratfalls with the characters reactions and feelings. Sometimes why a person falls down is what makes the pratfall funnier. THE PALM BEACH STORY has a decent balance, but lacks the character perfection that Fonda and Stanwyck brought to EVE.
In PALM BEACH, we are introduced to Gerry (Claudette Colbert, IT HAPPENED ONE NIGHT) and Tom Jeffers (Joel McCrea, SULLIVAN’S TRAVELS) as they are frantically trying to get to their wedding. After they make it, a title reads: and they lived happily ever after... or did they? We quickly discover that -- now five years into their marriage -- Gerry and Tom are broke. Tom is a straight-laced inventor with no means of raising money for his revolutionary airport and Gerry is a pampered poodle who spends all their money and can’t do anything around the house. So Gerry decides that for them to get what they want in life she will divorce him, marry a millionaire and then give Tom the money he needs to build the airport.

Blogs THE CITY OF LOST CHILDREN (1995) (***1/2)

This is a hard film to get into at first, but eventually its wonder and invention whips you up and takes you along for the ride. A missing scientist has done experiments creating flawed humans. Mademoiselle Bismuth (Mireille Mosse, SWIMMING POOL) is a tiny princess. Les Clones (Dominique Pinon, ALIEN: RESURRECTION) are four dimwitted clones who have narcolepsy. Krank (Daniel Emilfork, CASANOVA), the devious leader of the experiments, is brilliant, but cannot dream.

Alas, he kidnaps children, so he can steal their dreams, however the children are so scared of him that they only have nightmares. A group of Cyclops seek out new children and one day find the fearless Denree (Joseph Lucien, only film performance) at a carnival where he performs with his slow, muscle man brother One (Ron Perlman, HELLBOY). After Denree is kidnapped, One goes searching for him and meets up with a gang of orphans, led by Miette (Judith Vittet). Along the way, they must deal with conniving conjoined twins la Pieuvre, (Genevieve Brunet & Odile Mallet).

Blogs OLIVER! (1968) (***1/2)

At first I thought making a musical out of OLIVER TWIST cheapened the point that Dickens was trying to make about the exploitation of orphans. The “bad guys” in the film are watered down because at any moment a cheery song could break out and brighten up the day.

To some degree this idea is true with OLIVER! because never once did I really feel like Oliver (Mark Lester, BLACK BEAUTY) was in any true danger. Oliver gets kicked out of the orphanage, sold to a mortician, runs away to London and then gets caught up in a pickpocket gang, led by the shifty, but kind of lovable, Fagin (Ron Moody, A KID IN KING ARTHUR’S COURT). However, throughout all of that, Oliver lands on his feet and smiles to a nice song. The film also includes follow pickpocket The Artful Dodger (Jack Wild, TV’s H.R. PUFNSTUF), elder and mean thief Bill Sikes (Oliver Reed, GLADIATOR) and his barmaid girlfriend Nancy (Shani Wallis, THE GREAT MOUSE DETECTIVE).

Blogs MARATHON MAN (1976) (****)

This is a strangely fascinating thriller because of its various parallel stories. Thomas Babington Levy – nicknamed Babe (Dustin Hoffman, RAIN MAN) – is a history doctorate student, who is writing a thesis on his father, a left-leaning intellectual who was forced into exile during the McCarthy Red Scare. In the library one day, Babe strikes up a relationship with a mysterious European woman named Elsa Opel (Marthe Keller, BLACK SUNDAY).

In the beginning of the film, Babe’s story is paralleled with the story of Babe’s brother Henry David Levy – nicknamed Doc (Rob Scheider, JAWS), who is wrapped up in shady and dangerous dealings. Elsewhere, we meet former Nazi officer Dr. Christian Szell (Laurence Olivier, A LITTLE ROMANCE), who is trying to sneak into the U.S. Additionally we witness an accident with an elderly man (Ben Dova, RUBY’S DREAM). William Devane (FAMILY PLOT) plays Doc’s colleague Peter Janeway. How these various plotlines come together is part of the film’s fascination.

Blogs LOVE IS A MANY SPLENDORED THING (1955) (***)

As romances go this isn’t a bad one. The first thing that I’d like to address is casting. Hollywood in its early days (and even sometimes today) is notorious in casting stars to play minorities that they look nothing like. A prime example of this is Charlton Heston playing a Mexican in TOUCH OF EVIL. But like that movie, the casting of Jennifer Jones (SONG OF BERNADETTE) as an Asian in this film works because the performance and story are good.

Jones’ character is also half Chinese and half English, which helps. Costumes, make-up, hairstyle and Jones’ subtle accent also help create a believable illusion. In my college days, this kind of thing would have enraged me. But I’ve lightened up since then. When casting Yul Brynner as an Asian in THE KING AND I, Hollywood displays its racism. But this is art and this is different times. I don’t write off Shakespeare’s plays because I know men originally performed the female parts. So if the performance is not demeaning then I cannot complain too much. I will admit though that casting against race is a dangerous thing, because if its not convincing than it can ruin the whole picture. But here it works.

Blogs CARLITO'S WAY (1993) (***1/2)

For director Brian DePalma, CARLITO’S WAY is like the flipside of his SCARFACE. In SCARFACE, Tony Montana desperately tries to cling onto the gangster life as it slips away from him. In CARLITO’S WAY, Al Pacino plays Carlito Brigante, an ex-con who tries to go straight after his lawyer David Kleinfeld (Sean Penn, MYSTIC RIVER) gets him out of a 30-year prison sentence on a technicality.

The film deals with much of the same issues as THE GODFATHER III where a criminal has a hard time breaking out of crime when he keeps all his old friends. There’s a great initial scene in the film where Carlito accompanies a cousin to a drug deal and Pacino’s manner speaks more than words about his uncomfortable feelings. After five years of being in jail, Carlito has a tough time dealing with the way the world has changed. He tries to rekindle a romance with dancer Gail (Penelope Ann Miller, THE GUN IN BETTY LOU’S HANDBAG), whose career is in a slump. He takes a job at a nightclub to save money to move to the Bahamas, but he keeps running into the kind of people he really wants to be avoiding. A good example is Benny Blanco from the Bronx (John Leguizamo, SUMMER OF SAM), a cocky up-and-coming pusher who wants to raise his status by getting to know Carlito.

Blogs CABIN IN THE SKY (1943) (***1/2)

Director Vincent Minnelli (Liza’s dad) made his debut with this musical, which I’m sure was a risky venture in 1943, because it is composed of an entirely black cast.

Little Joe Jackson (Eddie “Rochester” Anderson, TV’s THE JACK BENNY SHOW) is trying to reform after marrying Petunia (Ethel Waters, THE SOUND AND THE FURY). But his old friends lure him into trouble again, which leads to an angel named The General (Kenneth Spencer, BATAAN) and demon Lucifer Jr. (Rex Ingram, SAHARA) making a bargain that if Little Joe can’t stay straight for the next six months he will go to hell. To spice up the temptation of Little Joe, Lucifer Jr. tosses in the sex kitten Georgia Brown (Lena Horne, THE WIZ) and a winning sweepstakes ticket.

Blogs THE BIG RED ONE (1980) (****)

Samuel Fuller is a director that I’m just discovering. He’s a big influence on Scorsese. His films are gritty, often dealing with violence.

THE BIG RED ONE follows a sergeant and four soldiers through various battles during World War II. Like SAVING PRIVATE RYAN – or maybe even more so – this film really shows what it is like to be a grunt. Unlike RYAN, BIG RED ONE has no overall mission to drive the narrative. It’s episodic, watching the soldiers move from mission to mission. I got a really good sense of the randomness of war and how death is always lurking around the corner.

Lee Marvin (DIRTY DOZEN) stars as The Sergeant, a survivor of World War I. He’s a grizzled war veteran, who shows little emotion, but is also touched deeply by the senselessness of war, especially when it affects small children. His four privates include: the film’s narrator and pulp writer Zab (Robert Carradine, REVENGE OF THE NERDS), violence skittish Griff (Mark Hamill, STAR WARS), no-BS, Brooklyn-born Italian Vinci (Bobby DiCicco, THE PHILADELPHIA EXPERIMENT) and baby-faced medic Johnson (Kelly Ward, GREASE).

Blogs AMERICAN WEDDING (2003) (**1/2)

AMERICAN PIE was a surprisingly funny film that was smarter than it appeared on the surface to be. AMERICAN PIE 2 was a kind of fans only venture. The third film in the series isn’t all that worse than the first sequel, but it has a bit too much Steve Stifler (Seann William Scott, THE RUNDOWN).

The thing that made the first film work was that it knew exactly how to balance character humor with the gross-out stuff much like THERE’S SOMETHING ABOUT MARY did. The reason for this quality's absence from movie I think has a lot to do with the absence of Paul and Chris Weitz (ABOUT A BOY) in the director’s chair. Jesse Dylan’s only directing effort before this film was HOW HIGH.

Blogs THE LETTER (1940) (***1/2)

The film is a bit racist, but in a weird way it actually helps the film. Set in Malaya, the film begins with Leslie Crosbie (Bette Davis, NOW VOYAGER) emptying a pistol into Geoffrey Hammond (David Newell, THE GREATEST SHOW ON EARTH). She tells her husband Robert (Herbert Marshall, THE FLY) and lawyer Howard Joyce (James Stephenson, THE PRIVATE LIVES OF ELIZABETH AND ESSEX) that Hammond tried to rape her so she shot him in self-defense. Everything seems cut-and-dry until Joyce’s assistant Ong Chi Seng (Victor Sen Yung, CHARLIE CHAN IN HONOLULU) reveals that a friend of Hammond’s Eurasian wife (Gale Sondergaard, THE BLACK CAT) has an incriminating letter that Leslie wrote to Hammond the day he was killed.

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