Category: Film

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Thinking, wishing, hoping that you’ll never feel the same again

Dan Seeger

Late in the closing credits of Inside Out, the latest feature from Pixar Animation Studios, there’s a dedication offered out by the filmmaking team to their collected children, urging them to never grow older. Ever. That’s hardly an original sentiment for parents to express. It even borders on the banal. That’s not what makes it notable. What makes it truly stand out is the way the wish for eternal childhood is at complete odds with the message of the movies that’s just preceded it. The creators may want their kids to stay kids. The film argues, persuasively, that growing up … Continue reading Thinking, wishing, hoping that you’ll never feel the same again

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From the Archive: Life with Mikey

Dan Seeger

I’m well aware that not every movie that hits screen in the warmer months is expected to turn into a marauding blockbuster, but I’m still occasionally taken aback by how small-scale some of the summer releases were back in the early-to-mid-nineteen-nineties, when I was still one-half of a weekly movie review radio program. One week before Jurassic Park opened in 1993, one of the two wide release openings was Guilty as Sin, a lousy courtroom drama directed by Sidney Lumet and starring Rebecca De Mornay (who had at least had a surprise hit with the thriller The Hand That Rocks the Cradle the year before) and Don … Continue reading From the Archive: Life with Mikey

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Top Fifty Films of the 40s — Number Thirty

Dan Seeger

#30 — She Wore a Yellow Ribbon (John Ford, 1949) One of the pleasures of examining the long swath of Hollywood film history is considering the ways in which the long-lasting masters of the form adapted to the technological changes that came their way. She Wore a Yellow Ribbon was not John Ford’s first film in color, but it virtually quivers from the great director’s efforts to construct his film visually with all the possibilities that Technicolor had to offer as the nineteen-forties were drawing to a close. Like few of his contemporaries, Ford used the screen the way a master … Continue reading Top Fifty Films of the 40s — Number Thirty

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Top Fifty Films of the 40s — Number Thirty-One

Dan Seeger

#31 — Edge of Darkness (Lewis Milestone, 1943) Sometimes the quality that really distinguishes a film is commitment. The bigger the concepts and the more intense the conflicts within the film, the more tempting it is to default to the counterbalance of restraint. Edge of Darkness takes the opposite tack, heartily embracing its own heightened emotions with a acceptance of the natural floridness of the tale. Trafficking in the fervid narrative grammar of wartime propaganda, director Lewis Milestone’s film ratchets up the tension at every opportunity, at times threatening to push the material into a sort of perversely grounded fever dream. … Continue reading Top Fifty Films of the 40s — Number Thirty-One

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Top Fifty Films of the 40s — Number Thirty-Two

Dan Seeger

#32 — Suspicion (Alfred Hitchcock, 1941) Alfred Hitchcock had an abundance of theses he kept circling around to during his career, a natural outcome of his prolific nature and usual ability to take his pick of projects. That’s a significant part of the reason cineastes tend to flip over Vertigo: it’s the one instance in which the master filmmaker took a swing at the piñata of his creative psyche and every laced candy came tumbling out. Part of the fun of examining the best films of Hitchcock’s career, then, is considering precisely where they fit into the puzzle of his … Continue reading Top Fifty Films of the 40s — Number Thirty-Two

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From the Archive: Backdraft

Dan Seeger

We had a few traditions on the movie review radio show The Reel Thing. The one that was in place from the very first episode involved spending our first episode in September discussing the biggest box office hits of the summer. Hence the inclusion of earnings analysis alongside the quick breakdown of the film’s quality. (And how adorable is it that the fifth biggest film of the summer has a total take that now looks like a respectable opening weekend for a hit.) My recollection is that we usually looked at the top ten highest-grossing films, but my memory might be faulty, … Continue reading From the Archive: Backdraft

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Greatish Performances #20

Dan Seeger

#20 — Linda Cardellini as Kelli in Return (Liza Johnson, 2011) In modern cinematic considerations of war, there is a broad agreement that the emotional aftermath when a soldier reached the homeland is just a brutal and devastating as anything that might have happened when they were deployed. Even a film as supposedly jingoistic and fully enamored with battlefield conquest as the ultimate in heroism as American Sniper needs to acknowledge that the military man whose prowess with a rifle is a such that he get deadly superlatives affixed to his name is going to win up staring blankly at a … Continue reading Greatish Performances #20

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Top Fifty Films of the 40s — Number Thirty-Three

Dan Seeger

#33 — The Big Sleep (Howard Hawks, 1946) Though The Big Sleep would never be considered experimental enough to suggest that it’s deliberating courting an antinarrative approach, it does oddly wind up making its own accidental argument about the invalidity of sanctifying cogent storytelling. Stories about the convoluted plot of the film flummoxing practically everyone involved are legendary. Based on a Raymond Chandler novel of the same name, the film had three formidable writers credited on the screenplay: William Faulkner, Leigh Brackett, and Jules Furthman. Additionally, with Howard Hawks in the director’s chair, The Big Sleep boasted one of the … Continue reading Top Fifty Films of the 40s — Number Thirty-Three

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Top Fifty Films of the 40s — Number Thirty-Four

Dan Seeger

#34 — His Girl Friday (Howard Hawks, 1940) According to Hollywood lore, the simple and brilliant notion that changed His Girl Friday from a straight adaptation of the play The Front Page, which had been filmed within the preceding decade, was hit upon largely by accident. Howard Hawks had his female secretary read the lines of male character Hildy Johnson while auditioning actors to play the other lead, Walter Burns. Something about the back-and-forth made Hawks realize that the film could be bolstered by carrying that gender switch into the production proper, which also opened up the possibility of incorporating a fractious … Continue reading Top Fifty Films of the 40s — Number Thirty-Four