#130. Scrooge (1951)

 

 

A.K.A. A Christmas Carol, as it's known in the States (and presumably Canada, considering everyone I've ever discussed this movie with uses that title).

 

Prior Viewings: 4-5

 

We all have that one version of A Christmas Carol that we cherish most, the one that we hold especially dear because it introduced us to the character. Well, Scrooge is mine. It was always my dad's favourite, and I've shared that sentiment ever since we first watched it together.

 

Beyond nostalgia, part of the reason why I continue to love this telling is the eerie and foreboding tone (those ghosts creeped me out as a kid), as well as the deeper dive into the Christmas Past portion (which paints a more detailed portrait of the character). But let's not bury the lede here: the reason to watch this one is Alastair Sim, who, for my money, gives the greatest Scrooge performance of all time.

 

Some actors excel at the villainous stuff, while others are more believable in their redemption. Sim is one of the very few who nails both. You totally buy him when he's cantankerous and miserable (though, even in his worst moments, there's still something nakedly desperate about his expressions and deliveries that generates some sympathy), just as you totally buy him when he's doing headstands and laughing like a schoolboy. Wonderful performance, and one that really brings out the emotions of the story.

 

I'm sure I'll cover my share of adaptations over the coming Decembers, but this one will likely always be the gold standard in my eyes.

 

Grade: A

 

Merry Christmas, everyone!

#129. Four Brothers (2005)

 

 

This movie gets off to a real rough start. Like, actively bad. The opening robbery is ham-fisted and heavy-handed (immediately indicating to the viewer that subtlety won't exist for the next hundred minutes), the initial exposition is appallingly clunky, and the "emotional" moments lean so heavily on sentimental scoring that it actually started to embarrass me. Like, don't even get me started on that dinner table scene, where the ghost of these boys' mother starts talking to them. Jesus Christ.

 

But then, once the movie becomes a slightly more straightforward crime story, things begin to improve. Not to the point of actual quality, mind you (it's all still pretty poorly written, and Mark Wahlberg's macho posturing will never not be cringe-worthy), but the increase in both action and comedy make for a passably entertaining time. Bonus points for Chiwetel Ejiofor's unhinged performance and the ridiculously convoluted plot, both of which greatly add to the strange energy of the thing.

 

Good premise (I'll have to check out The Sons of Katie Elder at some point), decent story, passable camaraderie, middling execution. This is the first John Singleton movie I've seen, but I can already tell he was capable of better.

 

Grade: B-

 

#128. Murder by Decree (1979)

 

 

You're unlikely to find a mystery as cynical, paranoid, and gloomy as this. Welcome to the '70s, Sherlock Holmes.

 

Murder by Decree has a lot worth recommending. Christopher Plummer and James Mason are near-perfect as Holmes and Watson (especially Plummer, who brings a sense of sentimentality to the role that makes the character a lot more likeable than usual), the foggy London sets are wonderfully atmospheric, and I think the Jack the Ripper premise fits pretty seamlessly. So the foundation is solid.

 

Unfortunately, the mystery started to lose me after a while. I mean, I suppose it's sporadically thrilling, especially on the many occasions where our leads are in imminent danger, but I also thought it all unfolded a little too slowly and aimlessly (like, did we really need the Donald Sutherland stuff?) to ever get fully invested. And that final explanation/accusation scene is downright interminable.

 

Still, while the story didn't always grab me, I liked the darker tone and presentation - especially because they're sporadically offset by some winsome humour. For the rest of my life, I'll never be able to eat peas without thinking of this movie.

 

Grade: B

 

#127. White Christmas (1954)

 

 

I'm starting to notice a trend with these Golden-age Hollywood musicals. They always start off so warm and likeable, and then the magic starts to wear off a bit once the conflict is introduced.

 

The first forty-five minutes or so of White Christmas are adorably sweet (perhaps to a sickly degree, but I have no problem with it). The tone, the comedy, and the chemistry are all a joy to behold. But then we reach Vermont, and are presented with one of those tedious and bizarrely common misunderstanding subplots, and it really starts to harsh the mellow for me - especially because we have to spend upwards of half an hour watching these two romantic leads argue with each other over literally nothing.

 

Fortunately, everything else keeps spirits bright. The songs are still pleasant, the performances are still charming, and, most of all, the whole thing just looks fantastic. Between the VistaVision format (which this movie was apparently the very first to use), the Technicolor processing, and the beautiful sets, every single frame pops off the screen, really adding to the buoyant mood and colourful presentation.

 

Wouldn't have minded a little more Christmas, though. Outside of the title track and the closing scene, you might as well have called this movie Green Summer. 

 

Grade: B+

 

#126. Ms .45 (1981)

 

 

A.K.A. Angel of Vengeance. I like that title better, mainly because there's something about Ms .45 including a period before the 45 but not after the Ms that bugs me.

 

Exploitation can be a tough tightrope to walk. You need to incorporate all the typical hallmarks (violence, campiness, exaggerated acting), while still presenting a tender side - something the audience can root for. And Ms .45 strikes that emotional balance in the form of a vulnerable young character who gets pushed to her limits after being raped twice in the same day. Fun premise, right?

 

Actually, it is kinda fun. Once Thana decides she's gonna get some revenge, it's just scene after scene of her taking out her frustrations by shooting men in the head. And while it starts to get slightly repetitive after a while (and it feels like a bit of a copout that almost all of these guys are assholes who get what they deserve), it's still cathartic and entertaining stuff. And Abel Ferrara's scuzzy direction greatly adds to both the realism and the deranged state of mind.

 

Unlike King of New York or Bad Lieutenant, I can't see myself returning to this one all that often. But the action sure packs a similar punch, and Zoë Lund's powerful and emotive performance is right up there with the likes of Walken and Keitel.

 

Grade: B+

 

#125. Big Eyes (2014)

 

 

Tim... my man... what the hell happened?

 

If we hone in on the first decade or so of his career, Tim Burton is one of my all-time favourite filmmakers. Beetlejuice, Batman, and Batman Returns are all locks for my top 100, and Ed Wood has an outside chance of qualifying as well. And yet, I don't think I've loved - or even strongly liked - anything he's made this century.

 

For a long time, I thought his increasing reliance on CGI and Johnny Depp were largely to blame, but it clearly runs deeper than that, considering neither are present here and I still greatly disliked the movie. It's more like Burton has simply lost interest in bringing any kind of creativity or passion or originality to his work (which is an observation that would've sounded downright absurd in the '90s), hence why most of his recent output feels so lazy and half-assed.

 

Big Eyes is another in that increasingly long line. It's got the usual latter-day Burton flaws of uninteresting characters, cliched dialogue, and weak performances, and then chucks on the kind of lie-based conflict that I can't imagine anyone finding remotely fun to watch. And the result is a bland, tedious, uninspired mess. Frankly, if not for the fact that it looks a million times better than Alice in Wonderland, I'd call it possibly the weakest film of the man's career.

 

Grade: C-

 

P.S. Christoph Waltz is pretty terrible in this, but I'll concede that his courtroom antics are quite funny. Dude might've had a better non-Tarantino Hollywood career if he took on more roles that played to his comedic strengths.

 

#124. Mouse Hunt (1997)

 

 

Prior Viewings: 2-3

 

I was feeling a bit nostalgic, so I thought I'd return to this unhinged piece of mayhem. And it didn't disappoint. Actually, if anything, it went over even better than it did in my youth.

 

One thing I've learned about myself from years of endlessly rewatching the first three Home Alone movies is that I very much enjoy seeing cocky, dim-witted villains get their comeuppance at the hands of small underdogs. It's also part of the reason why I grew up loving Looney Tunes and Tom and Jerry (even if I was one of those precocious snobs who rooted for Tom). And that's pretty much the entire appeal of this one. Probably doesn't sound like much, but it's all I need, and Nathan Lane and Lee Evans (and Christopher Walken, in a fantastic cameo) are committed enough to ensure that the slapstick remains fresh and satisfying from beginning to end.

 

Also contributing to the quality of this thing is rookie Gore Verbinski, who gives the movie a gothic style and palette that wouldn't look out of place next to The Addams Family and Batman Returns (which, if you know anything about me, is extremely high praise). It's shockingly gorgeous to look at, in both architecture and cinematography, and it carries a dark-yet-whimsical tone and texture that hits my sweet spot. Might explain why I grew up to be such a big Coen Brothers fan.

 

Grade: A