A Movie A Day #181: Guilty As Sin (1993, directed by Sidney Lumet)


When wealthy playboy David Greenhill (Don Johnson, doing a one-note Michael Douglas impersonation) is accused of throwing his wife out of a window, there’s only one lawyer who he wants to defend him.  Jennifer Haines (Rebecca De Mornay) may have just won a huge case but it is obvious that the only reason that David wants her on his team is because she’s sexy as Hell and David has an obsessive streak.  Still, despite the misgivings of her boyfriend (Stephen Lang) and her mentor (Jack Warden), she takes the case, convinced that she is the only attorney smart enough to be able to get David acquitted.

It becomes very obvious that David is not only probably guilty but that he might be a serial killer as well.  Not only does he start to turn up everywhere that Jennifer goes but, protected by attorney/client privilege, he starts to tell her all of his dark secrets.  Jennifer finds herself trapped into defending an obviously guilty client, one who appears to be setting her up to be his next victim.  Even when he fails to pay her for her services, the trial judge refuses to allow Jennifer to quit the case.

Back in the 90s, Guilty As Sin used to frequently show up on late night HBO and Cinemax.  I always watched because I had a crush on Rebecca De Mornay and I bet I was not alone as far as that’s concerned.  Late night cable is where Guilty As Sin belongs, which makes it strange that this weak and implausible movie was directed by Sidney Lumet.  One of the legitimately great American directors, Lumet directed several classic courtroom thrillers over the course of his career.  Guilty As Sin is not one of them.  This is probably the most impersonal film that Lumet ever made.  Other than the presence of Lumet favorite Jack Warden, there is nothing about Guilty As Sin that would lead anyone to think that it had been directed by the same man responsible for 12 Angry Men, Dog Day Afternoon, Network, or Prince of the City.

Fortunately, though Guilty As Sin was one of his Lumet’s last films as a director, it was not his final film.  Released in 2007, Lumet’s final film was a crafty thriller called Before The Devil Knows Your Dead, which showed that, at the age of 83, Lumet was still one of the greats and that Guilty As Sin was just a minor bump in an otherwise brilliant career.

Pre-Code Confidential #13: Wallace Beery in John Ford’s FLESH (MGM 1932)


gary loggins's avatarcracked rear viewer

Long before his John Wayne collaborations, John Ford had worked to perfect his own style as a filmmaker. Even though the cranky, idiosyncratic Ford, who directed his first film way back in 1917,  had his directing credit removed from 1932’s FLESH, it is credited as “A John Ford Production”, and one can tell this is definitely a “John Ford Picture”.  The man himself thought the film was lousy, and most critics agreed, but I’m in the minority opinion. I think it’s worthy of reappraisal for film lovers to get a glimpse of some vintage Ford, with solid performances by Wallace Beery, Karen Morley, and Ricardo Cortez. Plus, as a long-time pro wrestling buff, the grappling game setting appeals to me, as do the many Pre-Code themes and moments.

Beery once again is a good-natured lug, a German wrestler named Polakai who doubles as a waiter in a rowdy beer garden, toting a keg on his massive…

View original post 915 more words

Music Video of the Day: Pretty Life by Jakalope (2004, dir by Lisa Mann and Vincent Marcone)


The latest season of Degrassi dropped on Netflix today.  Val’s already watched it and I’ll probably watch it this weekend.

In honor of this occasion, today’s music video of the day comes from the Canadian band, Jakalope.  Not only was Jakalope’s best-known song, Feel It, prominently featured in the classic Ghost in the Machine episode of Degrassi but Jakalope also performed Degrassi’s opening theme song from season 4 to season 7.  Part of my ritual, before watching any season of Degrassi, is to spend an hour listening to Jakalope.  It gets me just in the right mood.  My Canadian friends understand.

Pretty Life comes from Jakalope’s debut album, It Dreams.  (It Dreams was co-produced by Trent Reznor and his unmistakable influence in present in both the songs and the videos.)  After watching Pretty Life, be sure to check out the videos for Feel It and Go Away.

As an extra bonus, here is Jakalope performing the Degrassi theme song during season 4:

And here is the instrumental version that was used during seasons 6 and 7.  These opening credits are taken from season 7.  (If the opening credits seem a bit crowded that’s because, during season 7, apparently every teenager in Canada had a role on Degrassi.)

Enjoy!

“Hell House LLC” Incorporates (Get It?) Some Real Terror Back Into The “Found Footage” Genre


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

My pathetic addiction to “mockumentary” horror recently steered me toward writer/director Stephen Cognetti’s 2015 low-budgeter Hell House LLC, now available under the auspices of Amazon Prime’s streaming service (and apparently coming on DVD at some unspecified future date), a surprisingly beyond-competent number that should go some way toward convincing even the most hardened cynic that this genre may not be completely spent yet. It treads some very similar ground to another flick we reviewed around these parts some time back, The Houses October Built, but adds more than a few new wrinkles into the mix, as well as broadening and deepening the core tropes involved, with the end result being perhaps the most successful exploitation of the “found footage” premise that I’ve seen in — shit, far too long.

Cognetti does an admirable job of not only giving his characters a little more genuine individuality than we’ve depressingly…

View original post 686 more words

You’ve Seen “21 Days” At Least 21 Times Before


Ryan C. (fourcolorapocalypse)'s avatarTrash Film Guru

Question for fellow Amazon Prime members : is it just me, or have they been adding fewer no-budget “found footage” horror flicks in recent months? I mean, new ones used to show up at a pretty steady clip on there — we’re talking two or three a week — but lately, not so much. I’m not sure why that would be given that at least as many of these things are being made as ever have been, but if anyone has any theories as to the slowdown, I’d be curious to hear them. Maybe they just figure having several hundred of them already is enough?

In any case, one that was added to the streaming queue recently (and is also apparently available on DVD if you’re so inclined) is writer/director Kathleen Behun’s 2014 effort 21 Days, and since I was literally “Jonesing” to check a new one out after…

View original post 498 more words

A Movie A Day #180: Bullets or Ballots (1936, directed by William Keighley)


Johnny Blake (Edward G. Robinson) was one of the toughest cops in New York City, until he punched out his new captain (Joe King) and was kicked off the force.  That punch was witnessed by racketeer Al Kruger (Barton McLane).  Kruger has long wanted to get Blake to join his organization and, with Blake now out of work, Kruger makes an offer.  Blake goes to work for Kruger, much to the consternation of Kruger’s second-in-command, Bugs Fenner (Humphrey Bogart).  Bugs says that anyone who was once a cop will always be a cop.  Bugs is right.  Blake is working undercover, trying to expose and take down the mob from the inside.

Bullets or Ballots is an entertaining if predictable gangster film from the 1930s.  After making his career playing bad guys, Robinson makes the transition to the side of law and order without losing any of his trademark attitude.  Bogart plays one of the many remorseless killers that he played before Casablanca reinvented him as a hero.  Bullets or Ballots may be predictable but it’s impossible not to enjoy watching Robinson and Bogart snarl hard-boiled insults at each other.

Second-billed Joan Blondell does not have much screen time but her role is still an interesting one, as a tough businesswoman who runs a numbers racket with her former maid (played by Louise Beavers).  I would have enjoyed seeing a full movie just about Blondell’s character but she mostly takes a back seat to Robinson and Bogart.

Unfortunately, unlike Little Caesar, The Public Enemy, and Scarface, Bullets or Ballots was made after Hollywood started to enforce the infamous Production Code and, as a result, Bullets or Ballots never reaches the gritty, violent heights of those earlier films.  Still, fans of Robinson, Bogart, and Blondell will find much to enjoy here.

Book Review: SEX IN THE CINEMA The ‘Pre-Code’ Years (1929-1934) by Lou Sabini (Bear Manor Media 2017)


gary loggins's avatarcracked rear viewer

Those of you who faithfully follow this blog know what a huge fan of Pre-Code films I am, even devoting an entire series to them, “Pre Code Confidential”. Well, film scholar and all-around good guy Lou Sabini has gone a step further and written a new book, SEX IN THE CINEMA: THE PRE-CODE YEARS, published by the fine folks over at Bear Manor Media, a handy reference guide to 107 Pre-Code films covering topics like illicit sex, gangland violence, drug addiction, alcoholism, prostitution, abortion, and Busby Berkeley… what more could a Pre-Code fan ask for!!

Helen Twelvetrees & Charles Bickford in 1932’s PANAMA FLO

Out of the 107 movies covered here, I’ve seen a mere 36, and covered seven on CRV. That will certainly change, as a few of them are sitting in my DVR ready to be enjoyed (thanks, TCM!). Lou was a student of noted film historian/collector William…

View original post 209 more words

Music Video of the Day: La La Love On My Mind by Ann Winsborn (2005, dir. ???)


https://www.youtube.com/watch?v=PDGgxawyZiM

Happy homecoming, Spider-Man!

What does this catchy song by a Swedish singer have to do with Spider-Man? Thanks to a bootleg called Spider-Man Motorcycle, the two are connected. If you turn him on, then he plays this song. I’ve included the Bootleg Zones review of it. It will take you right to the part where it is turned on.

I can’t find any other info on this, so just enjoy!