Staying Indoors Watching Movies at Home While Waiting Out the Covid-19 Pandemic, Part 5

 

By James V. Ruocco

Crowds. Comebacks. Tickets. Social Distancing. New Releases. Popcorn. Soda. Candy.

The pandemic is far from over, but movie theaters are open. But at a reduced capacity for now.
The option to go (or not to go) is yours.

Nonetheless, watching movies at home - streaming, DVD's, subscriptions, rentals, cable - is still the preferred choice.

You don't have to deal with an audience that talks, texts and spills popcorn and soda all over the floor.
You don't have to turn around and tell these people to '"Shut the fuck up."
You don't have to listen to them laughing, crying, gasping or delegating who's going to bring back what from the concession stand.
You don't have to suffer through 25 minutes of previews while waiting for the movie to begin.
Mask or no mask, going to a movie theater is still a very high risk for everyone no matter how you look at it.

And what about the ticket price?

People are out of work.
Money is tight.
Charge cards are maxed out.
Single tickets are $12, $14 and $16 a pop.

Not to worry, though.

You can cut through all the bullshit and still get your "movie high" by watching movies in the hassle-free, comfortable environment of your home.

You can stream.
You can rent a DVD from Netflix.
You can watch or subscribe to Hulu, HBO MAX, Showtime, YouTube, Disney Plus and Amazon Prime Video, to name a few.
You can also purchase lots of new films ($19 a pop) on the same day they are released in theaters.

It's that simple.
It's great fun.
It's affordable.
It's relaxing.
It has many benefits.
And better yet, you don't have to leave the house.

Think about it.

You pop the popcorn.
You make the ice cream sundaes and birch beer floats.
You make the hot dogs, the hamburgers, the pizza bites, the sandwiches, the fried mozzarella sticks and the nacho chips.
You supply the drinks.  
You pick the candy, the cookies, the gummy bears, the chips, the crisps, the cheese sticks and the chocolate.
You order the pizza, the sushi, the Chinese food and the hot wings from your favorite local eatery for home delivery.
And finally, you call the shots in terms of what you want to watch and when.

You can wear your own pajamas. Your favorite bathrobe, socks and fuzzy bear slippers.
You can hit pause, rewind or replay a movie's big moment any time you want. You can adjust the sound - high and low - whenever you so choose. 

You control everything from start to finish.

To make life easier, here's yet another list of 20 films that offer the perfect, eclectic mix of entertainment. Some are new. Some are old. Some are classics. Some are in a different language. Some are personal favorites.

You pick. You decide.

The United States vs. Billie Holliday

(2021) director: Lee Daniels

Minari

(2020) director: Lee Isaac Chung

Lawrence of Arabia

(1962) director: David Lean

Citizen Kane

(1941) director: Orson Welles

Promising Young Woman

(2020) director: Emerald Fennell

A Rainy Day in New York

(2019) director: Woody Allen

Steel Magnolias

(1989) director: Herbert Ross 

L'odyssee (The Odyssey)

(2016) director: Jerome Salle

Pride and Prejudice

(1940) director: Robert Z. Leonard

The Father

(2020) director: Florian Zeller

La Verite (The Truth)

(2019) director: Hirokazu Koreeda

Frantz

(2016) director: Francois Ozon

Spider-Man: Far From Home

(2019) director: Jon Watts

That Forsythe Woman

(1949) director: Compton Bennett

Nine

(2009) director: Rob Marshall

King Arthur: Legend of the Sword

(2017) director: Guy Ritchie

Un vrai bonhomme (Man Up!)

(2019) director: Benjamin Parent

All About My Mother (Todo sobre mi madre)

(1999) director: Pedro Almodovar

Rebecca

(2020) director: Ben Wheatley

Relic

(2020) director: Natalie Erika James

Staying Indoors Watching Movies at Home While Waiting Out the Covid-19 Pandemic, Part 4

 By James V. Ruocco

It's time to pop the popcorn, dim the lights and start the show.

Movie theaters have reopened all around the world hoping to lure moviegoers back indoors for two to three hours at a time. Day or night, the doors are always open.

But will anyone go?

In view of the ongoing coronavirus situation, will moviegoers take a chance being around complete strangers in a movie theater? Mask or no mask, it's still a very high risk for everyone no matter how you look at it.

And what about the ticket price?

People are out of work.
Money is tight.
Charge cards are maxed out.
Single tickets range are $12, $14 and $16 a pop.

Not to worry, though.

You can still get your "movie high" by enjoying films in the hassle-free environment of your home.

You can stream.
You can rent a DVD from Netflix.
You can watch or subscribe to Hulu, HBO MAX, Showtime, YouTube, Disney Plus and Amazon Prime Video, to name a few.
You can also purchase lots of new films ($19 a pop) on the same day they are released in theaters.

It's that simple.
It's great fun.
It's affordable.
It's relaxing.
It has many benefits.
And better yet, you don't have to leave the house.

Think about it.

You pop the popcorn.
You make the ice cream sundaes and root beer floats.
You make the hot dogs, the hamburgers, the pizza bites, the sandwiches, the fried mozzarella sticks and the nacho chips.
You supply the drinks.  
You pick the candy, the cookies, the gummy bears, the chips, the crisps, the cheese sticks and the chocolate.
You order the pizza, the sushi, the Chinese food and the hot wings from your favorite local eatery for home delivery.
And finally, you call the shots in terms of what you want to watch and when.

You can wear your pajamas. You don't have to dress up. You can hit pause, rewind or replay any time you want. You don't have to deal with mobile phones ringing loudly during an important screen moment. You also don't have to listen to people talking out loud or ordering their designated family member to bring back another round of overpriced refreshments from the concession stand. 

You control everything from start to finish.

To make life easier, here's yet another list of 20 films that offer the perfect, eclectic mix of entertainment. Some are new. Some are old. Some are classics. Some are in a different language. Some are personal favorites.

You pick. You decide.

The Boys in the Band

(2020) director: Joe Mantello

Oliver Twist

(1948) director: David Lean

Darling

(1965) director: Mickey Keating

Ma Rainey's Black Bottom

(2020) director: George C. Wolfe

Gaslight

(1944) director: George Cukor

Come to the Stable

(1949) director: Henry Koster

The Gentlemen

(2019) director: Guy Ritchie

An Inspector Calls

(2015) director: Aisling Walsh

Frankie

(2019) director: Ira Sachs

Sergeant York

(1941) director: Howard Hawks

Made in Italy

(2020) director: James D'Arcy

A Taste of Honey

(1961) director: Tony Richardson

Far From the Madding Crowd

(2015) director: Thomas Vinterberg

Long Day's Journey Into Night

(2018) director: Bi Gan

Lucky Grandma

(2019) director: Sasie Sealy

Une jeunesse doree (Golden Youth)

(2019) director: Eva Ionesco

The Party

(2017) director: Sally Potter

Victor et Celia (Victor and Celia)

(2019) director: Pierre Jolivet

The Rental

(2020) director: Dave Franco

Let Us Be Gay

(1930) director: Robert Z. Leonard

Looking Back, A Film Review, "Indiana Jones and the Temple of Doom" starring Harrison Ford, Kate Capshaw and Ke Huy Quan

By James V. Ruocco

In "Raiders of the Lost Ark," moviegoers were first introduced to archeologist  Indiana Jones (Harrison Ford), the film's reluctant hero who successfully managed to outsmart the bad guys, save girlfriend Karen Allen from villainous clutches and during the final reel, uncover the mysterious Ark of the Covenant.

The film, one of the best escapist adventures of its kind, was stylishly directed by Steven Spielberg. And Lawrence Kasdan's screenplay recalled those magical action adventure serials of the 1940's, known for their effective cliffhanger devices.

(New Heights)

"Indiana Jones and the Temple of Doom" takes the stalwart, often cynical adventurer to new heights of excitement. But the film, directed by Steven Spielberg, is not a sequel to the 1981 box-office smash. Instead, the film is set in 1935, prior to Jones' discovery of the legendary Ark and its mystical powers.

The story, written by Willard Huyck and Gloria Katz, is simple enough. Jones and his two companions, a Chinese youth named Short Round (Ke Huy Quan) and Willy Scott (Kate Capshaw), a sexy nightclub singer, travel to India to rescue hundreds of children kidnapped from a distant village by the Mararajah's  sinister high priest and his brainwashed followers. Naturally, they are unaware of the dangers that await them.

(Brilliantly Directed)

Like "Raiders of the Lost Ark," the film is brilliantly directed by Steven Spielberg, who clearly understands the meaning of motion picture escapism. It is patterned after the old movie serials of the 1940's. This concept, though familiar, again contributes to the film's enjoyment and makes "Indiana Jones and the Temple of Doom" just as enjoyable as its predecessor.
Because this cliffhanger process is so effectively executed by Spielberg, the audience is continually swept up in the action, gasping, covering their eyes, jumping out of their seats from shock or applauding madly as Jones battles the bad guys and escapes each peril by the skin of his teeth. When the film concludes, your're covered, as Spielberg intended, with sweat.

(Many Plot Escapists)

The screenplay incorporates many escapist plot devices that enhance the story's visual appeal. Unlike "Raiders," the film opens with a deliciously entertaining parody of 1930's musicals (the song "Anything Goes" is sung in Chinese by Kate Capshaw). Shortly after, one of the film's best chase sequences is staged.

First, Indiana Jones must contend with a nightclub brawl. Then, he and Willie jump out the window and conveniently fall through roof-like awnings into a moving car, driven by Short  Round. Next, they board a cargo plane, triggered to crash. What follows is a toboggan ride down the ski slopes, topped off by a dangerous trek down the rapids. Unbelievable!

(Just the Beginning)

And that's just the beginning. Since both screenwriters insist on topping "Raiders," they have constructed a series of hair-raising and comedic moments, which give the first film a run for its money.

Remember, all those deadly snakes in "Raiders." This time, it's thousands of creepy insects in a dimly-lit cave.There's also a hilarious banquet scene with a menu consisting of live snakes, huge bugs, eyeball stew, and, for dessert, monkey brains. That scene alone is worth the price of admission.

The last half hour of the film which involves Jones' escape from the Temple of Doom is another of those escapist situations that demonstrate Spielberg's keen eye for staging action. Technically, it is
mind-boggling and carried off with the utmost conviction.

(Ford Sharp Again)

Reprising his role of Indiana Jones, Harrison Ford again captures the character's fine swashbuckling style, his sardonic wit, reluctant heroism and rugged sensuality. Like all screen heroes, he is a definite ladies man, something Ford has no trouble projecting.

Kate Capshaw's portrayal of Willie Scott is wonderfully comedic and refreshing. The sexual tension between she and Ford in nicely shaped under Spielberg's direction.

If you're looking for old-fashioned escapist entertainment, "Indiana Jones and the Temple of Doom" never lets you down. Spielberg makes it a four-star treat.

(This review was originally published on May 23, 1984)

Looking Back, A Film Review, "Jagged Edge" starring Jeff Bridges and Glenn Close

By James V. Ruocco

Lightening flashes. Pouring rain beats against the side of what appears to be a deserted beach house. A shadowy figure is revealed creeping up the steps to a bedroom. There, Page Forrester, a beautiful, wealthy newspaper heiress is brutally slain in a bizarre ritualistic killing. Above her head, the word "bitch" is scrawled in her own blood.

Downstairs, her husband Jack (Jeff Bridges) has been knocked unconscious with a blunt instrument by the assailant. Or so he says. When discovered in shock, Jack is rushed to the hospital. But the only fingerprints that the police find are Jack's and the two victims - Page Forrester and a Spanish maid.

Such is the premise for "Jagged Edge," a suspenseful, neatly-packaged courtroom drama, tautly written by Joe Eszterhas, an obvious fan of the crime story concept.

While some films have a tendency to overplay courtroom scenes with endless, often padded testimonies, Eszterhas' treatment is blunt and to the point. This, in turn, alleviates any kind of boredom. Like the jury, the viewer can't wait to discover the next bit of evidence.

Did Jack Forrester murder his wife in cold blood? Or is he innocent?

In prosecutor Thomas Krasny's eyes, well-played by Peter Coyote, Jack Forrester is guilty. He believes Forrester inflicted the head injuries to himself the night of the murder.

Teddy Barnes (Glenn Close), a former prosecutor who worked as an assistant district attorney under Krasny, believes in Forrester's innocence. After launching her own investigation, she tells Forrester "I'm going to get you off." Then, she hops into bed with him but is quick to keep her affair a secret, especially from Krasny.

Forrester and Barnes' relationship, though hokey, is nonetheless treated seriously by Eszterhas and the performers. On one level, the viewer sees two people drawn together by unavoidable circumstances. Barnes is an attractive, yet lonely woman and Jack, a real ladies' man, finds her intriguing. But if forced to accept Krasny's theory about Forrester, this affection, like his head wound, could also be an act. To say anything more, however, would spoil the film's enjoyment.

For the courtroom scenes, Eszterhas has lined up a colorful assortment of witnesses, all of whom contribute largely to the film's intriguing storyline. Here, both Close and Coyote have equal opportunity to cross-examine each witness, using the kind of straight-forward strategy that often surprises and adds new twists to the trial.
Most outstanding are the testimonies given by Bobby Slade (Marshall Colt), a handsome tennis pro who had an affair with Page Forrester and Virginia Howell (Leigh-Taylor Young), Page's best friend.

Working from Eszterhas' screenplay, director Richard Marquand keeps the viewer engrossed in the entire story by presenting Forrester as an innocent man or possible manipulator. This concept not only heightens the film's excitement, but during the action-packed finale thrusts the audience on the edge of their seats. And when the actual murderer is revealed, a jolt of real surprise occurs.

Jeff Bridges, an actor whose work I've long admired ("The Last Picture Show," "The Last American Hero," "Starman," "Against All Odds") is ideally cast as the charming and sexy Jack Forrester. He  easily projects the image of an innocent man who uses charm and charisma to full advantage. Then, there are times when he knocks you completely off balance by toying with your emotions, playing the wild card or slyly swaying you to his side during the film's highly emotional courtroom scenes. Glenn Close, also on view in the hit comedy "Maxie," gives an equally impressive performance as Forrester's troubled, upright defense attorney. She plays the part beautifully straight with just the right emotion, nuance, toughness and intelligence.

A courtroom drama that dangles clues, twists, surprises, false leads and revelations so efficiently, "Jagged Edge" is a wildly effective whodunit that delivers the goods and everything else with power, realism and slick, slithery impact. It is well worth a trip to the movie theaters for anyone prepared for an upscale roller-coaster ride...and then some.

(This review was originally published on October 17, 1985)

(Additional changes, edits, corrections and new commentary were incorporated on August 11, 2020)