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Second viewing, first since opening day, and I’m genuinely disappointed that my opinion hasn’t budged. I really wish I saw something in this but it feels so tired, the Brody stuff is so hokey, and nothing here comes anywhere close to the RAIDERS truck chase (an all-timer) or the TEMPLE OF DOOM mine cart race (diminished slightly with age but still an astonishing magic trick).
Really enjoyed this once-lost revue-style musical picture built around the big band led by Paul Whiteman, the self-described “king of jazz.” It comprises a number of big-deal musical numbers in the vein that would soon be tapped more richly by Busby Berkeley, interspersed with short, corny, and occasionally inexplicable vaudeville-style gags. The aesthetic is close to one-of-a-kind, with sets and costumes color-tuned to resonate with the then-state-of-the-art Technicolor process, which at the time reproduced only two colors: reddish-orange and cyan-green.…
Opens with a glossy murder sequence that seems to be the jumping-off point for a glossy techno-thriller, as our killer is revealed to be an assassin who operates by taking over the minds of working stiffs who are in a position to be close enough to various VIPs to carry out quick hits. The unlucky prole chews on a bullet as their possessor blinks out of the equation and returns to her own body. And then the film veers into…
At 44, I sometimes feel like I've been growing up for decades while popular culture has been standing still. Radio stations I hear in grocery stores and coffee shops play the same songs that were popular when I was in high school. The comic books and fantasy novels that I read in the 1970s and 1980s (or their derivatives) have become the blockbuster TV and film franchises of the 2010s. Saturday Night Live has been on the air, in sickness…