Landis, McDonagh, Nichols, Parks, Trevorrow

The Blues Brothers (John Landis, 1980). I routinely think of this musical-action-comedy as the strongest film of the many that have been spun off from Saturday Night Live recurring characters, though we’re admittedly looking at a shallow, fetid pool. A recent fresh viewing suggests I might have been inflating in, undoubtedly on the basis of how freely I and my cohort of dopey high school friends quoted it, as if reciting a bar order of “three orange whips” at a purportedly clever moment would position us as comic geniuses. The movie is more slapdash than I remembered and spotted with … Continue reading Landis, McDonagh, Nichols, Parks, Trevorrow

Ford, Hancock, Huston, McDonagh, Robespierre

The Treasure of the Sierra Madre (John Huston, 1948). Huston’s famed exploration of greed tainting a slapdash partnership of aspiration gold miners in the Mexican mountains is so deviously ingenious that the director booming cackle virtually echoes through the most feverish scenes. The best Tim Holt can do as the most upstanding, straightforward member of the trio is stay upright against the buffeting winds of Humphrey Bogart, all sweaty paranoia and flash fire intensity, and Walter Huston, delivering a just Oscar-awarded turn as the weather-beaten old-timer whose the one member of the party who’s not a neophyte. The film is … Continue reading Ford, Hancock, Huston, McDonagh, Robespierre