A Reel Preview: The Year in Film 2021 - Episode II

After an agonizing wait of over a year, the Summer Movie Season returns with a vengeance. Here are the notable releases that will be in theatres during the month of July. 

 

THE FOREVER PURGE – The fifth and “final” film in THE PURGE franchise, and a direct sequel to 2016’s THE PURGE: ELECTION YEAR. Ana de la Reguera and Josh Lucas star. 

 

THE BOSS BABY: FAMILY BUSINESS – The sequel to the 2017 animated hit, which oddly features none of the voice talent of the first film. 

 

THE TOMORROW WAR – Chris McKay, director of THE LEGO MOVIE (2014), and the LEGO BATMAN spinoff (2017), directs this sci-fi action film where soldiers and civilians are sent into the future to fight a war against an alien species. Chris Pratt (GUARDIANS OF THE GALAXY), leads the way. 

 

BLACK WIDOW – Marvel returns to the big screen with the famed Black Widow’s first solo film. Scarlett Johansson reprises her role in an adventure that takes place just after the events of CIVIL WAR (2016). She is joined by Florence Pugh, David Harbour, and Rachel Weisz. 

 

ESCAPE ROOM: TOURNAMENT OF CHAMPIONS – A direct sequel to 2019’s ESCAPE ROOM, with the survivors of the first film caught in even more elaborate traps. 

 

SPACE JAM: A NEW LEGACY – In this standalone sequel to the 1996 live action/animated hybrid, NBA superstar LeBron James gets whisked into a virtual space where he has to play a looney basketball game with Bugs Bunny & company in order to save his son. 

 

HOTEL TRANSYLVANIA: TRANSFORMANIA – The fourth and “final” film in the HOTEL TRANSYLVANIA franchise that rose from the dead in 2012, with Dracula and his pals being transformed into humans. It stars the voice talents of Brian Hull, Andy Samberg, Selena Gomez, Kathryn Hahn, Steve Buscemi, and David Spade. 

 

OLD – M. Night Shyamalan (THE SIXTH SENSE, SIGNS), returns to the big screen with this supernatural thriller about a group of people trapped on a beach which causes them to age rapidly. It stars Gael Garcia Bernal (THE MOTORCYCLE DIARIES), and Vicky Krieps (THE PHANTOM THREAD). 

 

SNAKE EYES: G.I. JOE ORIGINS – The long-awaited origin story for the ever-popular G.I. Joe character. Henry Golding (LAST CHRISTMAS), dons the black mask. 

 

JUNGLE CRUISE – A riverboat captain takes a scientist on a mission through the jungle to find the Tree of Life in this adventure based on the famed ride at Walt Disney theme parks. It stars Dwayne Johnson and Emily Blunt. 

 

STILLWATER – In what may be an early Oscar contender, Matt Damon plays an oil worker who travels to France to help his daughter, played by Abigail Breslin, who has been jailed. It is directed by Tom McCarthy, who brought us the Oscar-winning SPOTLIGHT in 2015. 

 

THE GREEN KNIGHT – In one of the most highly anticipated films of the year, writer and director David Lowery (THE OLD MAN AND THE GUN, AIN’T THEM BODIES SAINTS), brings his version of the 14^thcentury medieval poem to the big screen. Dev Patel (LION), plays Sir Gawain on his quest to find the Green Knight. He is joined by Alicia Vikander, Joel Edgerton, and Sean Harris. 

 

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Next month, Reel Speak previews the month of August. 

A Reel Retro Review: CHINA (1943)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

Reel Speak has been celebrating this month’s 40^th anniversary of RAIDERS OF THE LOST ARK by looking at the films that inspired the globe-trotting, hat-wearing archeologist. When creators George Lucas and Steven Spielberg were in the early stages of discovering Indiana Jones, they held two screenings for their production crew. One was for SECRET OF THE INCAS from 1954 (reviewed by Reel Speak HERE), and the other was the 1943 drama, CHINA. 

 

In 1941 China, in the days leading up to the attack on Pearl Harbor, American oil salesman David Jones (Alan Ladd), and his partner Johnny Sparrow (William Bendix), being a long trek across country to close a deal, while trying to stay neutral during China’s war with Japan. 

 

Based on the unproduced play Fourth Brother by Archibald Forbes and directed by John Farrow, CHINA follows Jones and Sparrow as they try to make money during a war; a war that their own country has yet to join. Things are complicated when Sparrow rescues a young boy from a bombing raid, and even more complicated when they encounter Carolyn Grant (Loretta Young); a schoolteacher who just wants to make the world a better place. The trio, along with the orphan boy, truck their way across the country while avoiding bombing runs and helping the occasional group of refugees. 

 

Although a little light on plot, CHINA works by way of its strongly drawn characters. Jones is determined to stay out of the war and just sell his oil, while Carolyn looks to preserve China’s legacy and education by saving as many refugees as she can. It’s a strong conflict of character that keeps things moving. Director John Farrow spends a lot of time with his characters, but still finds time to put together some stunning action scenes for its time. CHINA also doesn’t pull any punches in its depiction of war; a dead child and a rape scene offering some well-earned shock value…along with a brutal ending. CHINA was filmed and released during WWII, and it does feature a little bit of flag-waving for the American fighting spirit. 

 

The cast does decent work despite how broadly their characters are drawn. Alan Ladd is a bit of a statue and doesn’t give off very much emotion, but that is made up for by Loretta Young…who lights up the screen. 

 

RAIDERS OF THE LOST ARK didn’t take much from CHINA in plot, but it did find Indy’s costume here as this version of (ahem), Jones does indeed wear a leather jacket, fedora hat, and khaki’s. On top of that, the rescuing of the Chinese orphan child after a bombing seems to be the inspiration for Short Round from INDIANA JONES AND THE TEMPLE OF DOOM (1984). CHINA gave some vital elements to our Dr. Jones, and is one more important piece to one of the greatest films ever to wear a hat. 

 

BOTTOM LINE: See it 

 

Reel Facts: Director John Farrow would win an Oscar for Best Adapted Screenplay in 1957 for AROUND THE WORLD IN EIGHTY DAYS. Loretta Young went to television and hosted The Loretta Young Show which ran from 1953 to 1961 and won three Emmy’s. She passed away in the year 2000 at the age of 87. 

A Reel 25: THE ROCK

“Welcome to the rock!”

This month marks the 25^th anniversary of Michael Bay’s THE ROCK. 

 

The second feature film from stylistic and bombastic director Michael Bay, THE ROCK was an action thriller which involved the FBI assembling a team to counter a terrorist threat. At the center of the team was Agent Stanley Goodspeed (Nicolas Cage); a brilliant lab chemist with no field experience. He is joined by John Mason (Sean Connery); a former resident of Alcatraz…which is being held hostage by the terrorists. Those terrorists are led by Brigadier General Francis X. Hummel (Ed Harris), of the USMC, who is demanding war reparations for fallen veterans. 

 

Written by David Weisburg, Douglas Cook, and Mark Rosner, and produced by Jerry Bruckheimer, THE ROCK was filmed on-location at the long-closed Alcatraz prison and neighboring San Francisco. There were tensions during production, and Bay was rumored to be headed for firing, but was defended by Sean Connery. 

 

The headlining cast of Connery and Cage was backed by a strong supporting cast of Michael Biehn, John Spencer, David Morse, William Forsythe, Vanessa Marcil, John C. McGinley, Tony Todd, Claire Forlani, Raymond Cruz, and Phillip Baker Hall. 

 

Backed by a thundering score by Hans Zimmer, Nick Glennie-Smith, and Harry Gregson-Williams, THE ROCK was a literal blast on the screen. Despite mixed reviews, the film had a strong box office and would finish as the fourth highest-grossing film of 1996; landing behind MISSION: IMPOSSIBLE, TWISTER, and the box office champ…INDEPENDENCE DAY.

 

THE ROCK would be nominated for an Oscar for Best Sound. In 2014 Time Out magazine would rank the film 74^th on their Best Action Film List. 

 

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Michael Bay often gets smacked around as a mindless director; a reputation that is only half-deserved. But there is no taking away from the entertainment value of THE ROCK. But besides the explosions, gunfights, rockets, and car-chases, THE ROCK carries the message of mistreated veterans. General Hummel’s war against his own government is motivated by a need to honor veterans killed in combat; a theme that carries weight into today. THE ROCK is a spectacle, but its foundations are solid. 

 

“…You probably have no idea what it means to lead some of the finest men on God’s Earth into combat and then watch their memories get betrayed by their own fucking government.”

A Reel Retro Review: STAGECOACH (1939)

Reel Speak has been celebrating this month’s 40^th anniversary of RAIDERS OF THE LOST ARK by looking at the films that inspired the globe-trotting, two-fisted archeologist. Films such as SECRET OF THE INCAS from 1954 (HERE), and THE TREASURE OF THE SIERRA MADRE from 1948 (HERE). John Ford’s Western STAGECOACH did not have a heavy influence on Indiana Jones and his adventures, but it did provide inspiration for one very important sequence that defined the character and his franchise. 

 

After escaping from prison, The Ringo Kid (John Wayne), falls in with a stagecoach making its way across dangerous Indian territory. The passengers include a drunken doctor (Thomas Mitchell), a prostitute (Claire Trevor), a Marshal (George Bancroft), a very pregnant woman (Louise Platt), a gambler (John Carradine), and a whiskey salesman (Donald Meek). 

 

Based on the short story The Stage to Lordsburg by Ernest Haycox and directed by John Ford, STAGECOACH is a character-driven, closed-quarters tale. The passengers, strangers at first are stuck in the tight and uncomfortable confines of the stagecoach for endless bumpy hours…with nothing to do but argue and express discomfort at each other. Most of the anger goes towards Dallas the prostitute, and the drunk Doctor (Doc) Boone who is quick to make friends with the whiskey salesman. Once Ringo joins the group, he acts as a middle-man to the hostilities; as he has no prejuduce to show against Dallas and Doc. 

 

Filmed on location in Monument Valley, director John Ford, who had a bright career ahead of him making Westerns with John Wayne, makes excellent use of the wide canvass. Even in black-and-white, the scenery looks gorgeous. The highlight of the film comes near the end in a thrilling chase when the stagecoach is chased across the plains by Indians. Guns blaze and characters jump from carriage to horse in a nearly 15 minute sequence that is impressive even by today’s standards. Eagle-eyed fans of cinema will spot this as the inspiration behind the truck-chase sequence from RAIDERS OF THE LOST ARK. 

 

Acting is superb. John Wayne, appearing in one of his earliest feature roles, doesn’t have as much gruff as we’re used to seeing him display, and instead shows a lot of heart and charm. Claire Trevor matches up well with him. Thomas Mitchell, as the drunken doctor, steals the show with comedy and a bit of dramatic acting. 

 

After the thrill of the stagecoach chase, the film has a few loose ends to wrap up which takes a long time to get through, and it feels very anti-climactic. It’s not a dealbreaker, as it serves credit to that chase scene; it’s actually too good. By the time dust settles and the film (literally) rides into the sunset, it does carry a two-fisted punch.  

 

BOTTOM LINE: See it 

 

Reel Facts: STAGECOACH would be nominated for seven Oscars; including Best Picture and Director. Thomas Mitchell would win for Best Supporting Actor. Famed filmmaker Orson Welles claimed to have watched STAGECOACH several times in his preparations to make CITIZEN KANE (1941). 

 

 

A Reel 30: The Year in Film 1991

This month marks 30 years since this Blogger graduated high school. While this cap-tossing feat is stupendous enough to celebrate, it’s also an opportunity to look back at the films that were populating theatres 30 years ago. 

The early months of the year delivered a handful of gems along with one classic. We had the Julia Roberts-led thriller SLEEPING WITH THE ENEMY, the Charlie and Martin Sheen military drama CADENCE, and the Chevy Chase comedy NOTHING BUT TROUBLE. 

 

But it was in early February when Jonathan Demme’s adaptation of a Thomas Harris novel where history was made. Sir Anthony Hopkins took on the role of Dr. Hannibal Lecter and Jodie Foster played FBI Agent Clarice Starling in THE SILENCE OF THE LAMBS. LAMBS became only the third film to win Oscars in the top five categories; Best Picture, Director (Demme), Actor (Hopkins), Actress (Foster), and Adapted Screenplay. To this day it is still the only horror film to win Best Picture. 

 

The rest of the Spring season brought us Val Kilmer as Jim Morrison in Oliver Stone’s THE DOORS, the gangster flick NEW JACK CITY, the Bill Murray comedy WHAT ABOUT BOB?, and Ridley Scott’s Oscar-nominated THELMA & LOUISE. 

 

The Summer Movie season got off to a hot start with Ron Howard’s firefighter drama BACKDRAFT. A few weeks later, ROBIN HOOD: PRINCE OF THIEVES became a box office monster. The Kevin Costner-led film, with help from the Bryan Adams single (Everything I Do) I Do It For You, would finish as the second-highest earner of the year, and earn the late great Alan Rickman a BAFTA Award for his role as the Sheriff of Nottingham. 

 

The July 4^th weekend saw one of the biggest films of all time arrive: TERMINATOR 2: JUDGEMENT DAY. James Cameron returned to direct the sequel to his own 1984 sci-fi thriller, as did Arnold Schwarzenegger…who was arguably the biggest movie star on the planet at the time. Linda Hamilton set a new standard for the female action hero, and the film set other high bars for sequels and for visual effects. Cross-promoted by the Guns N’ Roses single You Could Be Mine, T2 would finish as 1991’s box office champion, along with four Oscar wins. 

 

Other Summer hits included the late great John Singleton’s BOYZ N THE HOOD, the action thriller POINT BREAK, and the Harrison Ford drama REGARDING HENRY. The Billy Crystal comedy CITY SLICKERS would earn an Oscar win for the late great Jack Palance. 

 

The Fall started with the sixth Freddy Krueger film, FREDDY’S DEAD: THE FINAL NIGHTMARE, along with Terry Gilliam’s Oscar darling THE FISHER KING, and the football comedy NECESSARY ROUGHNESS. By October we were having plenty of laughs watching Joe Pesci as a slumlord in THE SUPER. 

 

November came in like a literal beast, when Disney’s BEAUTY AND THE BEAST wowed audiences of all ages and ushered in a new era for the house that Walt built. BEAST would become a cultural icon for all time, a box office hit, and the first animated film to be nominated for Best Picture. Other hits from November included Martin Scorsese’s CAPE FEAR, the creepy and cooky THE ADDAMS FAMILY, the animated film AN AMERICAN TAIL: FIEVEL GOES WEST, and the comedy/drama MY GIRL. 

 

The final month of the year set off for new frontiers with STAR TREK VI: THE UNDISCOVERED COUNTRY, which would be the final film with the entire original STAR TREK cast. Steven Spielberg would deliver his Peter Pan tale HOOK, and Oliver Stone’s JFK would spin heads. Other notable releases in this month would include THE FATHER OF THE BRIDE, FRIED GREEN TOMATOES, and another Oscar darling, THE PRINCE OF TIDES. 

 

There were some significant film debuts in 1991. This was the year we were introduced to Leonardo DiCaprio (CRITTERS 3), Reese Witherspoon (THE MAN IN THE MOON), Steve Carell (CURLY SUE), James Gandolfini (THE LAST BOY SCOUT), Paul Giamatti (PAST MIDNIGHT), Heath Ledger (CLOWNING AROUND), and Gwyneth Paltrow (SHOUT). 

 

Other notable films from 1991 included JUNGLE FEVER, BARTON FINK, DON’T TELL MOM THE BABYSITTER’S DEAD, THE ROCKETEER, BILL AND TED’S BOGUS JOURNEY, DOC HOLLYWOOD, and RICOCHET. 

 

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A look back at 1991 shows a vastly different era. Superheroes in cinema were scarce, STAR WARS was in the middle of a 17-year hiatus, and the idea of using computers to make movies was being laughed at. But it was in this year where the roots were planted that would change cinema forever. TERMINATOR 2 re-wrote the book for visual effects by way of Computer Generated Imagery (CGI), which would assist James Cameron in his making of TITANIC (1997); the film that would alter blockbuster filmmaking to this day. Disney’s BEAUTY AND THE BEAST would change the world’s thinking towards animated films while making new icons for themselves, and THE SILENCE OF THE LAMBS would renew the legitimacy that the horror genre had not enjoyed since THE EXORCIST (1973). 1991 was a special year, one that it’s class of movies can proudly toss their caps for. 

A Reel Retro Review: THE TREASURE OF THE SIERRA MADRE (1948)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

As blogged about here on Reel Speak (HERE), this month marks the 40^th anniversary of Steven Spielberg and George Lucas’ iconic adventure film, RAIDERS OF THE LOST ARK. The film that introduced the world to the swashbuckling archeologist Indiana Jones took inspiration from many places, one of which being the 1948 adventure film, TREASURE OF THE SIERRA MADRE. 

 

In 1925 Mexico, two American drifters; Dobbs (Humphrey Bogart), and Curtin (Tim Holt), encounter an old man and ex-miner named Howard (Walter Huston), who convinces them that there is a fortune to be made in hidden gold in the hills. 

 

Helmed by famed director John Huston and based on the book of the same name by B. Traven, TREASURE OF THE SIERRA MADRE is less of an adventure film and more of a story of constant betrayal. The early goings see Dobbs and Curtin as homeless men in Mexico, desperate for work. When they are suckered into a construction job by a con man who stiffs them on their pay, it creates an instant theme of distrust that is constant through the film. As the trio head into the mountains to dig for gold, they are all looking over their shoulders at each other; distrust that eventually turns bloody. 

 

As one of the first Hollywood productions to be shot outside of the United States, director John Huston makes excellent use of the landscape. The isolation of the desert and its harshness can be felt through the gorgeous black-and-white film, and every frame is a masterpiece in composition. Pacing is an issue, as the film feels like it gets bogged down once too often with characters thinking their thoughts out loud. 

 

Acting is very good. Humphrey Bogart is more gruff and mean than anything we’re used to seeing him in, and is painted as one of the first anti-heroes; almost to the point of unlikeable. The film belongs to Walter Huston, John Huston’s father, who plays the role of mentor in a world-weary character. 

 

RAIDERS OF THE LOST ARK only took a few cues from SIERRA MADRE; Bogart’s hat, a trek through the wilderness on donkeys, and a bar fight leap out right away. The film doesn’t have a ton of action; almost to the point that it’s a minor fib to call it an adventure movie. But as a matter of film history it’s worth a look as a RAIDERS precursor. 

 

BOTTOM LINE: See it 

 

Reel Facts: John Huston and Humphrey Bogart collaborated together on notable films such as THE MALTESE FALCON (1941), and THE AFRICAN QUEEN (1951). TREASURE OF THE SIERRA MADRE would win three Oscars; Best Supporting Actor for Walter Huston, and Best Director and Screenplay for John Huston. The film is also the origin of the famous quote “I don’t have to show you any stinkin’ badges”. 

 

 

A Reel Review: IN THE HEIGHTS

When the name Lin-Manual Miranda is brought up, we all rightfully associate him with his must-see Broadway hit Hamilton. The success of that cultural-smashing show has caused many to overlook his Tony Award-winning musical, In the Heights, which debuted on Broadway in 2008. Here in 2021, Miranda and director Jon M. Chu bring that story to the big screen. 

 

In the largely Dominican neighborhood of Washington Heights, NYC, Usnavi (Anthony Ramos), the young owner of a small bodega, tells a group of children the story of how he and his friends chased their dreams. 

 

Based on Miranda’s show and the book of the same name by Quiara Alegria Hudes, IN THE HEIGHTS is a film that has a lot going on. Although Usnavi is set up as the main character, the story eventually moves on to the large cast. There’s Vanessa (Melissa Barrera), a love-interest of Usnavi who dreams of becoming a fashion designer. Sonny (Gregory Diaz IV), Usnavi’s teenage nephew who just wants to go to college. Nina (Leslie Grace), who has quit college despite the wishes of her father (Jimmy Smits). And Benny (Corey Hawkins), who longs to be with Nina. All these characters are intertwined in one way or another, and toss on a few subplots involving a salon, a neighborhood blackout, a missing winning lottery ticket, and a disappearing neighborhood due to buyouts…and we’ve got one packed film. With so much going on, it’s tough to latch onto a single theme or character. 

 

IN THE HEIGHTS is a musical first and foremost, and even though the sequences are spectacular, every number feels like it could have been trimmed by a few minutes. They ramble on way too long, and every minute of the nearly two-and-a-half-hour running time can be felt. Starting with the very long prologue (so long that when the opening title finally pops in, it’s a surprise), the film gets tedious right away. 

 

There is still a lot to be impressed by in IN THE HEIGHTS. As stated, the numbers are fantastic to see; done on a large and impressive scale with hundreds of extras. Filmed on location in NYC, there is a strong level of authenticity, and the attention paid to various cultures and traditions gives the film a richness. There are strong themes at play concerning immigration without getting preachy or political, although the Trump-era harshness towards The Dreamers rears its ugly head. The film for the most part is a delight with many laughs, although the explanation behind Usnavi’s name, which feels like it could have been a funny story, comes off as absurd. 

 

The cast seems to be having a blast and hit shows. Anthony Ramos, who starred in Miranda’s Hamilton, gets most of the screentime and carries the movie. Jimmy Smits is excellent as always, and the show is stolen by Leslie Grace and Melissa Barrera. 

 

With so many characters and threads at work, IN THE HEIGHTS takes a very long time to wrap up, and by the time the credits mercifully roll…there is a feeling of exhaustion. There does exist a good movie in here; one that feels like it could have used another pass or two in the editing room. It feels like it’s true to the stage version to a fault; fans of the show will probably love it, while newcomers will be waiting for the story to just get on with it. That sort of imbalance knocks it down from a must-see. 

 

BOTTOM LINE: Rent it 

A Reel 40: RAIDERS OF THE LOST ARK

“Snakes. Why’d there have to be snakes?”

 

This month marks the 40^th anniversary of Steven Spielberg’s RAIDERS OF THE LOST ARK. 

 

The adventure film that introduced the world to archeologist Indiana Jones, the origins of RAIDERS go all the way back to 1973, when a young filmmaker named George Lucas, who at the time still had STAR WARS in his future, was inspired to create a character based on the heroes of his youth such as Buck Rogers and Flash Gordon. Modeled after the serials of those characters, Lucas conceived THE ADVENTURES OF INDIANA SMITH, featuring a two-fisted obtainer of rare antiquities who got his name from Lucas’ beloved Alaskan Malamute dog. 

 

Fast-forward to 1977. Lucas had just completed STAR WARS and had booked a vacation in Hawaii to get away from possible bad reviews. He invited his friend Steven Spielberg, who had helmed the first blockbuster of all time in JAWS (1975), and was putting the final touches on CLOSE ENCOUNTERS OF THE THIRD KIND (1977). On a beach, Spielberg mentioned that he had always wanted to direct a James Bond film. Lucas replied that he had something better, and Indiana Jones was discovered. 

 

Screenwriter Lawrence Kasdan was brought in to write the screenplay, with the Ark of the Covenant, the mysterious, yet powerful chest that the Hebrews used to carry the Ten Commandments, as the central plot device. By early 1980, casting had begun. Hollywood names such as Tom Selleck, Bill Murry, Nick Nolte, Steven Martin, and Chevy Chase were considered…with Selleck actually being cast before his TV commitments forced him to withdraw. The role would go to Harrison Ford, who impressed Spielberg after his second performance as Han Solo in Lucas’ own THE EMPIRE STRIKES BACK (1980). 

 

Spielberg and his crew would shoot RAIDERS in 73 days, with desert sequences in the 130-degree heat of Tunisia. Ford was joined on-set by Karen Allen; playing the love-interest Marion Ravenwood…along with Paul Freeman, Ronald Lacey, John Rhys-Davies, and Denholm Elliott. For the score, Spielberg brought in John Williams, in what would be their fifth collaboration together. 

 

Upon release, RAIDERS OF THE LOST ARK would become the highest grossing film of 1981. It was considered to be one of the top 10 films of the year, and would win five Oscars; Best Art Direction, Editing, Sound, Sound Editing and Visual Effects. Today it is considered to be one of the greatest films ever made. Empire magazine ranked it number two in their 2008 list of 500 Greatest Movies of All Time. In 1999, the United States Library of Congress selected RAIDERS for preservation in the National Film Registry. Indiana and his film would become cultural icons; inspiring books, video games, action figures, and amusement park rides. 

 

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In 1981, this Blogger was a STAR WARS kid all the way, and was living with the belief that all movies revolved around that far, far away galaxy. And then came Indiana Jones. He didn’t carry a lightsaber or fly a spaceship or wear cool black robes…he carried a bullwhip, revolver, and wore a simple fedora hat and weathered leather jacket. He was human and down-to-earth, and when he shed his adventure skins, he was a bookish and nerdy professor. He was appealing because he could punch out Nazi’s, solve riddles, swing across chasms and out-run rolling boulders…but at the same time he could get beaten up, bleed, get scared of snakes, and fall asleep when tired. He was a new hero for all generations by embracing classic storytelling, and after 40 years the word “adventure” in cinema has been permanently related to the man who was named after a dog. Steven Spielberg and George Lucas have had that special ability to make popular films without equal in the history of cinema, and RAIDERS OF THE LOST ARK is one of their greatest discoveries. 

 

“This is history.” 

A Reel Retro Review: SECRET OF THE INCAS (1954)

Reel Speak’s Retro Reviews will randomly review a classic film from the TCM library every week, with the intention of introducing some overlooked and perhaps forgotten screen gems from the past to those of us who may be unfamiliar or unawares of their existence. 

 

This month marks the 40^th anniversary of Steven Spielberg and George Lucas’ iconic adventure film, RAIDERS OF THE LOST ARK. The film that introduced the world to the swashbuckling archeologist Indiana Jones took inspiration from many places, one of which being the 1954 adventure film, SECRET OF THE INCAS. 

 

American adventurer Harry Steele (Charlton Heston), possesses the key to finding an ancient Inca treasure with no means to travel there. He encounters and seduces Elena Antonescu (Nicole Maurey), a Romanian defector, and uses her situation to make their way towards the treasure…

 

Directed by Jerry Hopper, SECRET OF THE INCAS is an “adventure” film that takes a while to find its footing. The stepping-off point, which every film has, takes a very long time to unfold. The film hangs around its opening location for what seems like an eternity with Harry Steele. Steele is set up as an anti-hero; running cons for the sake of making coin. His long-term goal is to make his way into the jungle where he can find the Inca treasure, and in the nearly-helpless defector Elena, he finally has a way. 

 

Once the story finally gets to the jungle, things don’t really pick up but instead find new ways to grind the supposed adventure to a halt. Steele and Elena fall in with an archeological expedition led by Dr. Moorhead (Robert Young), who immediately falls for Elena and complicates things for Steele’s plans to make off with the treasure. Eventually some action rolls around, with Steele confronting an old rival…but at that point the excitement has been long lost. 

 

Director Jerry Hopper gets great performances out of his cast, with Heston rightfully leading the way. The film was shot on location in Peru and looks gorgeous. With not much action going on the film feels longer than its 98 minutes. 

 

With a sluggish starting point, an unlikeable hero, and dated sexism even for its time, the main draw for SECRET OF THE INCAS is the inspiration it would have on the creation of Indiana Jones. Indy’s outfit, and several scenes are right out of this film. As troubled as it is, it’s worth a look as a matter of film history, but not much else. 

 

BOTTOM LINE: Rent it 

 

Reel Facts: SECRET OF THE INCAS is credited with causing a surge in Peru tourism. Director Jerry Hopper moved over to television after 1958, directing episodes of WAGON TRAIN, GUNSMOKE, THE ADDAMS FAMILY, PERRY MASON, and GILLIGAN’S ISLAND. 

 

 

 

A Reel Review: CRUELLA

One of the more useless trends in Hollywood in the last decade has been the villain solo-movie; a film featuring a Big Bad minus his or her usual adversaries; adversaries that make the bad person be bad. Warner Bros. had mixed results with JOKER in 2019, and the less said about the VENOM garbage from Sony Pictures the better. Disney gave it a shot with ho-hum results with MALEFICENT in 2014, and this year they try to learn from their mistakes with an origin story based on the classic Disney villain from their 1961 animated, and 1996 live-action films, 101 DALMATIONS. 

 

After the death of her mother, Estella (Emma Stone), is orphaned on the streets. With her new friends Jasper (Joel Fry), and Horace (Paul Walter Hauser), she grows up as a petty thief before finding employment with Baroness von Hellman (Emma Thompson); a ruthless head of a London fashion house. 

 

Directed by Craig Gillespie, CRUELLA has a lot of plot to get through. The early goings spend time with Estella as a child; going through her tough upbringing, rebellious nature (earning the Cruella nickname from her mother), her love/hate relationship with dogs, and the untimely (and somewhat suspicious) death of her mother. The film takes a while to find its footing; footing that comes when Estella begins to suspect that the Baroness may not be who she says she is. This leads Estella to secretly take on her Cruella persona; a mysterious woman who upstages the Baroness’ high-profile media events and fashion shows. It’s a clever twist on the old hidden-identity we’ve seen in superhero films for decades, and it works well. 

 

While the main plot focuses on the building blocks for the Cruella character we’ve known for five decades; including her car, last name, and fashion sense…director Craig Gillespie is also working with plenty of sub-text. The film takes a good look at mental illness, the Have’s vs. the Have Not’s, and the persecution of those who are born different. There is a depth to the film that does indeed make the Cruella we are familiar with a deeper character. 

 

For a film that runs over two hours, pacing is tight and light and a lot of fun. The comedy, coming mostly from Jasper and Horace, is very well timed and never gets ridiculous. CRUELLA is backed by pop music selections from each era, and every song selection is specifically chosen for the situation at hand. Set design is terrific, and the costumes tell a story of their own; each one tailored for the scene. 

 

Acting is excellent. Emma Stone shows a dark and vulnerable side and some terrific range. Emma Thompson is one hell of a villain, and the show is nearly stolen by Joel Fry and Paul Walter Hauser. Mark Strong is rock-solid, as always. 

 

CRUELLA offers a twist or two in the third act that many may see coming, but in broad strokes serve the story well. As an origin tale it clicks all the necessary boxes, and by making Cruella’s worst enemy her own self, it seems that Disney has finally cracked the code in getting a villain’s solo story to work right. This is as good as bad can be. 

 

BOTTOM LINE: See it 

A Reel Preview: The Year in Film 2021 - Episode I

The Big Screen has returned! As the country digs itself out of the mess that was 2020, our beloved theatres are reopening, and Reel Speak is back in the business of the monthly previews. Here now are the notable theatre releases for the month of June. 

 

June 4^th

THE CONJURING: THE DEVIL MADE ME DO IT – The eighth installment of the CONJURING horror franchise, based on the “true” case files of Ed and Lorraine Warren. Vera Farmiga and Patrick Wilson reprise their roles as the paranormal investigators who this time get into the real-life case of the first murder suspect to use demonic possession as a defense. 

 

SPIRIT UNTAMED – This DreamWorks Animation film is based on the popular Netflix series SPIRIT RIDING FREE, and a spinoff of the animated film SPIRIT: STALLION OF THE CIMARRON. It stars the voice-talents of Jake Gyllenhall, Julianne Moore, and Walton Goggins. 

 

June 11^th

IN THE HEIGHTS – Lin-Manual Miranda, creator of the famed Hamilton Broadway smash and co-star of MARY POPPINS RETURNS, brings his other stage musical to the big screen, about a New York City bodega owner dreaming of a better life. It is directed by Jon M. Chu (CRAZY RICH ASIANS, GI JOE: RETALIATION). 

 

PETER RABBIT 2: THE RUNAWAY – The sequel to the 2018 live-action, CGI-bunny family film. James Corden provides the voice of Peter, and he is joined by Rose Byrne, Domhnall Gleeson, and David Oyelowo. 

 

June 16^th

HITMAN’S WIFE’S BODYGUARD – The sequel to the 2017 comedy. Ryan Reynolds stars as the bodyguard who must protect his hitman (Samuel L. Jackson), and his wife (Salma Hayek), without using weapons. It also stars Frank Grillo, Antonio Banderas, Morgan Freeman, and Richard E. Grant. 

 

June 18^th

THE SPARKS BROTHERS – Edgar Wright (SHAUN OF THE DEAD, SCOTT PILGRIM), directs this documentary film about the pop and rock duo Sparks. 

 

June 25^th

F9 – The tenth film in the car-flipping FAST & THE FURIOUS franchise. The packed cast includes Vin Diesel, Michelle Rodriguez, Tyrese Gibson, John Cena, Jordana Brewster, Michael Rooker, Helen Mirren, Kurt Russell, and Charlize Theron. 

 

WEREWOLVES WITHIN – Milana Vayntrub (Lily from the AT&T commercials), stars as a mail-carrier trapped in a small town which is being terrorized by a mysterious creature. Sam Richardson co-stars. 

 

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Next month, Reel Speak previews the month of July.