[Stopped Buttons] Day 40 | March 30

Gwyneth Paltrow and Luke Wilson star in THE ROYAL TENENBAUMS, directed by Wes Anderson for Touchstone Pictures.

The Royal Tenenbaums (2001, Wes Anderson)

I saw ROYAL TENENBAUMS on release with my dad and then saw it again immediately after getting back to college. At the time, there was a great article about how Anderson had created the otherworldly NYC sensation by skipping the landmarks. When people point to Anderson’s falling quality, ANDERSONS is the example of when he aimed highest and hit it dead on. Great film. The ROYAL TENENBAUMS post had a few decent years–in the last four–and one weaker one. It still gets hits, still has interest. Good.

Harrison Ford and Gene Wilder star in THE FRISCO KID, directed by Robert Aldrich for Warner Bros.

The Frisco Kid (1979, Robert Aldrich)

My mom (big-time Harrison Ford fan until RANDOM HEARTS) mentioned FRISCO KID but I don’t think she’d seen it. FRISCO KID was a weird one. Hard to come by in the eighties on tape, then was hard for me to track down in print on DVD to watch. I also don’t have the nineties revisionist view of Aldrich as a great director either. Gene Wilder movies really hit or miss. The FRISCO KID post doesn’t get a lot of readers. Not many Harrison Ford (or Gene Wilder) aficionados out there online I guess.

A scene from THE MUPPET MOVIE, directed by James Frawley for Associated Film Distribution.

The Muppet Movie (1979, James Frawley)

I loved THE MUPPET MOVIE (and the Muppets) as a kid–a young one–and rediscovered it in high school. THE MUPPET MOVIE was one of the more exciting DVD releases because it was the first time I’d seen it OAR. Didn’t love it as much. This viewing was for the podcast and I was back to loving THE MUPPET MOVIE. I can’t figure out what my problem would’ve been before. Really, really low readership for the MUPPET MOVIE post. The unfortunate lack in Muppets interest is universal, not just new stuff.

William Shatner and Leonard Nimoy star in STAR TREK VI: THE UNDISCOVERED COUNTRY, directed by Nicholas Meyer for Paramount Pictures.

Star Trek VI: The Undiscovered Country (1991, Nicholas Meyer)

I saw STAR TREK VI in the theater, of course. Old Orchard, I think, which surprised me (vs. Lincoln Village). STAR TREK VI was also one of the first movies where I recognized the different cut (on the VHS). I had a lot of copies of it. I had it on VHS, widescreen VHS and finally on laserdisc. I waited forever to get the DVD. And I think watched the blu-ray here. It’s a recent post, but looking at the monthlies, the STAR TREK VI post isn’t going to get a lot of readers. At best, low decent.

Dawn of the Dead (2004, Zach Snyder)

There are good things about Dawn of the Dead. Maybe not many and certainly not enough to make the film at all a rewarding experience, but there are good things about it. They usually come with caveats.

For example, Jake Weber is really good. Of course, his part is terribly written (all of the parts in James Gunn’s screenplay are terribly written; calling them caricatures would be too gracious) and director Snyder and editor Niven Howie aren’t really interested in telling the characters’ story so Weber doesn’t have much to do. But you can tell, it’s a fine performance. Just a poorly written one and a poorly edited one.

Ditto Michael Kelly, who shows up as a jerk, disappears for a bit, then comes back and with him some liveliness to the film so it clearly needed him more. Because instead of Kelly, Snyder and Gunn sort of focus on Ving Rhames’s reluctant hero cop character. Rhames gets some of the film’s worse dialogue; he’s able to remain sympathetic, while never exactly turning in a good performance.

In the top-billed role (presumably because she got the prologue), Sarah Polley eventually has less to do than the dog.

Snyder’s not interested in his characters, he’s not even interested in the zombies they’re trying to survive. He’s interested in the final product. So the film’s calculated, manipulative, reductive and tiring. Snyder isn’t trying to tell a good story, just a sensational film.

Doesn’t amount to much. Certainly not a good movie.



Directed by Zach Snyder; screenplay by James Gunn, based on a screenplay by George A. Romero; director of photography, Matthew F. Leonetti; edited by Niven Howie; music by Tyler Bates; production designer, Andrew Neskoromny; produced by Eric Newman, Marc Abraham and Richard P. Rubinstein; released by Universal Pictures.

Starring Sarah Polley (Ana), Ving Rhames (Kenneth), Jake Weber (Michael), Ty Burrell (Steve), Mekhi Phifer (Andre), Michael Kelly (CJ), Inna Korobkina (Luda), Kevin Zegers (Terry), Lindy Booth (Nicole), Jayne Eastwood (Norma), Michael Barry (Bart) and Matt Frewer (Frank).

Fast & Furious 6 (2013, Justin Lin), the extended version

For the most part, Fast & Furious 6 is a delightfully absurd action concoction from director Lin. The film drops the Fast and the Furious “family” into a James Bond movie; thank goodness, because it’s hard to imagine Roger Moore able to outdrive the bad guys here. And it’s even set in London (and later Spain). It’s not original, but screenwriter Chris Morgan does fold familiar action movie plot lines into a new situation. Lin’s making a non-fantasy (just absurd), non-realistic action extravaganza. It has to be seen to be believed.

But then there’s how much time is spent on Vin Diesel courting Michelle Rodriguez (she’s back from the dead, with amnesia–apparently Morgan doesn’t just like to lift from Empire Strikes Back, he likes to lift from “Days of Our Lives” too) and Lin handles it pretty well. Some of it. One spinning conversation is terrible, but the car race immediately proceeding it is fantastic work.

The thing about Furious 6 is Lin and photographer Stephen F. Windon do create breathtaking car race and car chase shots; they’re in the quickly edited sequences, but clearly done with deliberate, careful intent. And the car race between Diesel and Rodriguez is phenomenal stuff.

Some good acting from Evans, some bad acting from Gina Carano (though one of her fight scenes with Rodriguez is awesome). Everyone else is fine. Lin manages to get better performance from Dwayne Johnson here too.

Furious 6 is mechanical and superficial, but beautifully made and likable enough.



Directed by Justin Lin; screenplay by Chris Morgan, based on characters created by Gary Scott Thompson; director of photography, Stephen F. Windon; edited by Kelly Matsumoto, Christian Wagner, Dylan Highsmith, Greg D’Auria and Leigh Folsom Boyd; music by Lucas Vidal; production designer, Jan Roelfs; produced by Neal H. Moritz, Vin Diesel and Clayton Townsend; released by Universal Pictures.

Starring Vin Diesel (Dominic Toretto), Paul Walker (Brian O’Conner), Dwayne Johnson (Hobbs), Michelle Rodriguez (Letty), Jordana Brewster (Mia), Tyrese Gibson (Roman), Ludacris (Tej), Sung Kang (Han), Gal Gadot (Gisele), Luke Evans (Shaw), Gina Carano (Riley), John Ortiz (Braga), Shea Whigham (Stasiak), Clara Paget (Vegh) and Elsa Pataky (Elena).

[Stopped Buttons] Day 39 | March 29

John Travolta and Jonathan Rhys Meyers star in FROM PARIS WITH LOVE, directed by Pierre Morel for EuropaCorp.

From Paris with Love (2010, Pierre Morel)

My Luc Besson enthusiasm backfired with FROM PARIS WITH LOVE. It was an atrocious viewing experience. Worse, I had known I shouldn’t give FROM PARIS WITH LOVE a shot but I did anyway. So I spent the movie rather upset with myself. I can’t remember if it stopped me from regularly seeing Besson-produced (or scripted) films, but I haven’t for quite a while now. The FROM PARIS WITH LOVE post doesn’t get any readers. It does awful. It used to do a little better, but never approached good.

A shot from LOVELY DAY, directed by Edward Burns.

Lovely Day (2001, Edward Burns)

LOVELY DAY’s from The Concert for New York City (a post-9/11 charity event). I watched it on that DVD. I think LOVELY DAY is the only Edward Burns short film available for people to see (even though it’s not particularly easy anymore). It’s a good short and rather interesting to see a feature director go back to short work, especially such emotional short work. And the LOVELY DAY post does tend to get a lot of readers one month of the year (otherwise not); hopefully people still can find it.

A scene from THE SEAFARERS, directed by Stanley Kubrick for the Seafarers International Union.

The Seafarers (1953, Stanley Kubrick)

I have a rather interesting history with THE SEAFARERS (i.e. before it was legally available from the union). I can’t share, but it did involve a well-known film critic’s film class and finding bootlegs in the early days of the Internet. I definitely saw THE SEAFARERS from the official DVD this time. It hasn’t had a blu-ray release, has it? If it has, then on that. Given Kubrick shorts were once a really big deal, I’m a little surprised how poorly the SEAFARERS post does in readers. Not well.

Dolly Parton, Jane Fonda, and Lily Tomlin star NINE TO FIVE, directed by Colin Higgins for 20th Century Fox.

Nine to Five (1980, Colin Higgins)

I never saw NINE TO FIVE as a kid. I knew of it, but not many specifics past Dolly Parton being in it. I first saw it in college; my wife likes it more than I do and it was one of our dating rentals. I remember being somewhat blaise. For this viewing, we definitely watched it on DVD. And, again, I liked it, just wasn’t crazy about it. The plotting’s too messy. The NINE TO FIVE post does poorly in terms of readership. It’s in a not-quite modern “classic” category, a little late, little early.

William Shatner, Laurence Luckinbill, Leonard Nimoy, and DeForest Kelley star in STAR TREK V: THE FINAL FRONTIER, directed by William Shatner for Paramount Pictures.

Star Trek V: The Final Frontier (1989, William Shatner)

I saw STAR TREK V in the theater–probably the Lincoln Village–with a family friend who was a Trekkie. I was real excited for STAR TREK V too. I thought it was going to be great. Not so much. But I never hated it like other people. This viewing, I sort of thought I would hate STAR TREK V, which is silly. It’s fine. It’s got lots of problems. But it’s fine. The STAR TREK V post got a fair amount of readers on publication, then it fell off pretty quick. It’s not doing well these days.

Nightmare at 20,000 Feet (1963, Richard Donner)

Nightmare at 20,000 Feet races. Director Donner and writer Richard Matheson pace out the episode perfectly–though it being a “Twilight Zone” episode means they can also utilize some of the series’s credit formula to great effect.

The episode has a few phases. Introducing William Shatner and Christine White (they’re married, he’s just recovering from his mental breakdown while on an airplane), putting Shatner in the window seat, him seeing the gremlin. Those events all happen in the first phase. Second is him trying to get help with the gremlin, third is him taking it into his own hands. These phases take place inside a three act structure. It’s an intense story, made more intense through the direction and then Shatner’s performance.

Shatner does fantastic work, as the viewer has to believe they’re going crazy with him. There’s a hesitation; Shatner, Matheson and Donner make sure the viewer gets past.

3/3Highly Recommended


Directed by Richard Donner; written by Richard Matheson; “The Twilight Zone” created by Rod Serling; director of photography, Robert Pittack; edited by Thomas Scott; produced by Bert Granet; aired by the CBS Television Network.

Starring William Shatner (Bob Wilson), Christine White (Julia Wilson), Asa Maynor (Stewardess) and Ed Kemmer (Flight Engineer).


[Stopped Buttons] Day 38 | March 28

Dick Durock and Adrienne Barbeau star in SWAMP THING, directed by Wes Craven for Embassy Pictures.

Swamp Thing (1982, Wes Craven)

I didn’t see SWAMP THING until after I saw the sequel (in the theater). Then I rented the original on tape. SWAMP THING soon became a favorite (for sleepovers, etc). I had stopped liking it by the time I was into laser (or it was too much). This viewing was the glorious new Shout! Factory blu-ray. Didn’t love it as much as when I was a kid, but SWAMP THING has its charm. The SWAMP THING post hasn’t had great readership over the years–and it’s dropped over the last couple; previous it did okay though.

Andrew Garfield stars in RED RIDING: IN THE YEAR OF OUR LORD 1974, directed by Julian Jarrod for Channel 4.

Red Riding: In the Year of Our Lord 1974 (2009, Julian Jarrod)

A friend recommended RED RIDING (the books), so I watched RED RIDING: IN THE YEAR OF OUR LORD 1974. Oops. I remember my wife and I were watching a lot of British TV and had high expectations from RED RIDING 1974. It didn’t meet any. It was one of the few British series we started and neither of us wanted to finish. Even if it did introduce me to Rebecca Hall. The RED RIDING 1974 post had a whole bunch of readers a few years ago and it’s since died down to almost none, which is fine.

Rachel McAdams, Diane Keaton, and Harrison Ford star in MORNING GLORY, directed by Roger Michell for Paramount Pictures.

Morning Glory (2010, Roger Michell)

I can’t remember why I wanted to see MORNING GLORY. I didn’t like Rachel McAdams at the time. Ford and Keaton? It might have been the movie to make me like McAdams; Harrison Ford is fantastic in it. MORNING GLORY’S a surprisingly good comedy. My wife and I tend to avoid the modern comedies too, so finding a good one is a real delight. It’s too bad MORNING GLORY went unseen. And MORNING GLORY didn’t just go unseen. It went without interest (and continues to do so). The post gets terrible readership.

Michael Caine and Steve Martin star in DIRTY ROTTEN SCOUNDRELS, directed by Frank Oz for Orion Pictures.

Dirty Rotten Scoundrels (1988, Frank Oz)

Growing up, I never cared for DIRTY ROTTEN SCOUNDRELS very much. I saw it a couple times, didn’t grab me. When my wife and I were dating, I bought her the DVD at Fred Meyer on a whim; I liked it a lot. Her taste in comedies is strong. We watched it this time because It had been a long time since we’d seen it; nicely, the film turned out to be quite good (again). Besides some at publication interest, the DIRTY ROTTEN SCOUNDRELS post hasn’t gotten many readers. Not atrocious, not decent either.

Jonah Hill and some annoying kids star in THE SITTER, directed by David Gordon Green for 20th Century Fox.

The Sitter (2011, David Gordon Green)

I was really excited for THE SITTER. I mean, it has Sam Rockwell, so I was reasonably excited for it. And Sam Rockwell is pretty good in THE SITTER (as I recall); too bad the movie is a heinous piece of garbage. Just a miserable time. Worse, I remember I picked THE SITTER over something my wife wanted to watch; she wasn’t happy with my choice (Rockwell or not). The SITTER post gets absolutely terrible readership, which is fine. No one needs to see or think about this one. Like no readers.

[Stopped Buttons] Day 37 | March 27

Tom Selleck and Gene Simmons star in RUNAWAY, directed by Michael Crichton for Tri-Star Pictures.

Runaway (1984, Michael Crichton)

RUNAWAY was the only Tom Selleck movie I was allowed to watch as a kid. Even though it had scary robo-spiders. My mom was a “Magnum P.I.” and Selleck fan; by the time he did comedies, I did see those ones. Basically, couldn’t see LASSITER. I saw RUNAWAY again as a teen, after discovering Michael Crichton, and liked it more. This viewing not as much, but it’s okay. Over the years, the RUNAWAY post has dropped off (very slightly) from decent to not so decent. It’s an obscure title these days.

Rose Byrne and Jay Baruchel star in JUST BURIED, directed by Chaz Thorne for Seville Pictures.

Just Buried (2007, Chaz Thorne)

I was excited to see JUST BURIED because I thought it might be a sign of Rose Byrne getting lead roles. And I have fairly good memories of the movie, in parts, because it’s a quirky black comedy. Maybe? Jay Baruchel is sturdily likable. But, even watching JUST BURIED, it seemed like it wanted to be a beloved cult classic, but didn’t even end up being memorable. After one really good year for readership, the JUST BURIED post has really dropped down. It’s real low but steady. No cult classic.

A scene from THE LAST HUNGRY CAT, directed by Hawley Pratt and Friz Freleng for Warner Bros.

The Last Hungry Cat (1961, Hawley Pratt and Friz Freleng)

I liked THE LAST HUNGRY CAT. I cheated and looked through the post a little. I don’t remember it at all. I didn’t dwell, when reviewing the post, on the content of the short. I did notice I had a thing where I talked about Friz Freleng. The Short Stop posts were some of the more colloquial of the site’s. There was a progression, a discovery of new things. I miss that. And the LAST HUNGRY CAT post got some readers its first year. Not many after that, but far from the worst when it comes to cartoons.

Thomas Dekker, Linda Kozlowski, and Christopher Reeve star in VILLAGE OF THE DAMNED, directed by John Carpenter for Universal Pictures.

Village of the Damned (1995, John Carpenter)

I almost saw VILLAGE OF THE DAMNED in the theater (for the Carpenter) but knew it was going to be terrible. I rented VILLAGE OF THE DAMNED. Bad. I kept thinking about getting the laserdisc to have it widescreen for Carpenter. Never did. This viewing was while I was trying to get all of Carpenter’s stuff watched and, wow, VILLAGE OF THE DAMNED is a bad, bad movie. The VILLAGE OF THE DAMNED post doesn’t do well. It does somewhat decent, but only somewhat. I don’t think the movie has any fans.

Gabriel Byrne stars in MILLER'S CROSSING, directed by Joel Coen for 20th Century Fox.

Miller’s Crossing (1990, Joel Coen)

Fox Home Video promoted MILLER’S CROSSING a bunch when it came out on tape. I saw the preview repeatedly. I may have even seen MILLER’S CROSSING before I got into the Coen Brothers. Liked it a lot back then, cooled a bit by college. I think this viewing was just because I hadn’t seen it in so long and wanted to see it again. So much great stuff (like the music). The MILLER’S CROSSING post got a lot of readers right off, then it fell quickly, which is too bad. Older Coen shouldn’t be ignored.

Jared Rushton, Robert Oliveri, Amy O'Neill and Thomas Wilson Brown get small in HONEY, I SHRUNK THE KIDS, directed by Joe Johnston for Walt Disney Pictures.

Honey, I Shrunk the Kids (1989, Joe Johnston)

I’m pretty sure I saw HONEY, I SHRUNK THE KIDS with my summer camp, the Evanston YMCA’s Summer Adventure Club. I saw it again with my dad and a friend; we drove somewhere on the North Side to see it. Gorgeous old theater. Closed long ago. This viewing of HONEY, I SHRUNK THE KIDS was out of curiosity; I had a good memory of the movie, but hadn’t seen it in a long time. The HONEY, I SHRUNK THE KIDS post is recent and it’ll be hard to tell how it’ll do long-term, but it gets a good amount of readers.

Diary of a Country Priest (1951, Robert Bresson)

Diary of a Country Priest is a somewhat trying experience, as so much of the viewer’s experience watching the film requires him or her to empathize with the titular protagonist, something that character is apparently incapable of doing.

Much in the film is made of the protagonist’s inexperience–something Claude Laydu plays perfectly–and director Bresson does little to suggest otherwise to the viewer. Most of Laydu’s scenes are on his own, writing his account of his day in his diary. It quickly becomes clear Laydu might not be the most reliable narrator of his experiences, which just forces the viewer to have to do more work.

Bresson leaves the viewer to ask all of the questions Laydu does not. Conversations matter more in where they go and what isn’t said than what Laydu discusses with people. Though not many people. Country Priest is a small film, set in a small church in a small parish with a small cast. If it weren’t for Laydu getting involved with the concerns of the local noble, there wouldn’t be enough story for a film.

That tight focus keeps the film distant. Bresson never visibly manipulates the story, just the lens through which the viewer experiences it. Only on a handful of occasions does it ever get truly annoying (like when teenager Nicole Ladmiral confides in Laydu and Bresson defers revealing that confidence).

The third act manages to be sensational and anticlimactic. Bresson, Laydu and photographer Léonce-Henri Burel pull it off though.



Directed by Robert Bresson; screenplay by Bresson, based on the novel by Georges Bernanos; director of photography, Léonce-Henri Burel; edited by Paulette Robert; music by Jean-Jacques Grünenwald; released by L’Alliance Générale de Distribution Cinématographique.

Starring Claude Laydu (Priest of Ambricourt), Jean Riveyre (Count), Adrien Borel (Priest of Torcy), Rachel Bérendt (Countess), Nicole Maurey (Miss Louise), Nicole Ladmiral (Chantal), Martine Lemaire (Séraphita Dumontel) and Antoine Balpêtré (Dr. Delbende).

[Stopped Buttons] Day 36 | March 26

Tyrone Power stars in NIGHTMARE ALLEY, directed by Edmund Goulding for 20th Century Fox.

Nightmare Alley (1947, Edmund Goulding)

So much of NIGHTMARE ALLEY is great, when it fell apart it broke my heart. So much of it’s truly amazing. More so than modern films, when old movies fall apart I find it more disappointing. It goes from discovering something great to not. Of course, lots of people still hang tough with problematic movies. I find myself less able to do so. There’s just not enough time. The NIGHTMARE ALLEY post doesn’t get many readers. It might have done better years ago (with the DVD release), but it’s bad now.

Halle Berry and Kurt Russell star in EXECUTIVE DECISION, directed by Stuart Baird for Warner Bros.

Executive Decision (1996, Stuart Baird)

I saw EXECUTIVE DECISION at a sneak preview, liked it, went back again (with more people) on release. And when EXECUTIVE DECISION hit home video, it became a frequent family favorite. I think my mom had the VHS, I had the laserdisc. I guess I saw it in college or so and didn’t like it. I was probably at my snootiest. This viewing was a lot more rewarding. For a somewhat obscure–at this point–nineties action movie, the EXECUTIVE DECISION post gets readers. It still has interest.

Johnny Depp stars in SLEEPY HOLLOW, directed by Tim Burton for Paramount Pictures.

Sleepy Hollow (1999, Tim Burton)

I saw SLEEPY HOLLOW the second day with a friend. He’d seen it before. Don’t think I would’ve gone twice. We watched SLEEPY HOLLOW–which I hadn’t seen since the theater–for the podcast (so a six month delay on the posting). SLEEPY HOLLOW was the movie to kill my enthusiasm for Tim Burton. But that podcast did at least remind me I used to love him. Readership on the SLEEPY HOLLOW post has been bad. It’s got a low, rocky year-to-year. No one else wants to remember it either.

Daniel Craig and Harrison Ford star in COWBOYS & ALIENS, directed by Jon Favreau for Universal Pictures.

Cowboys & Aliens (2011, Jon Favreau), the extended version

I don’t know why I insisted we watch the extended COWBOYS & ALIENS (or why I insisted we watch it at all). COWBOYS & ALIENS was a blockbuster where my wife wasn’t offended but I was hostile towards the film. I got over caring about it fast. Getting dispassionate about movies has always been a problem, especially when I pick a movie I’m not watching alone and I loathe it. No one has been reading the COWBOYS & ALIENS post. Because, really, why would anyone read a post about that movie? Extended or not.

Rachel Ward and Jeff Bridges are on the run in AGAINST ALL ODDS, directed by Taylor Hackford for Columbia Pictures.

Against All Odds (1984, Taylor Hackford)

I remember my mom watching AGAINST ALL ODDS in the eighties. She was a Jeff Bridges as heartthrob aficionado. I got around to seeing AGAINST ALL ODDS sometime in high school and liked it. More, as I embarrassingly recall, than OUT OF THE PAST. This viewing was miserable. Not only did I hate the movie, I spent the movie wondering what was wrong with my youthful opinion. A surprising amount of readers for the AGAINST ALL ODDS post, at least in the first (last) year. It’s still doing all right though.

Lyman Ward, Stan Ivar, and Wendy Schaal find hunting space monsters tiring work in CREATURE, directed by William Malone for Trans World Entertainment.

Creature (1985, William Malone)

I’ve been waiting to see CREATURE since I was a kid. That VHS box cover used to call to me in Video Adventure. Later, I found out CREATURE was supposed to be awful (regardless of Mr. Bueller’s presence in the film). And I forgot about it. When I did remember it, I couldn’t find it OAR. Then I did find it widescreen and watched it. And it is, no doubt, a terrible movie. The CREATURE post gets a decent amount of readers, at least it did the first year. Who knows if interest will hold up next year…

[Stopped Buttons] Day 35 | March 25

A scene from HULK, directed by Ang Lee for Universal Pictures.

Hulk (2003, Ang Lee)

Before seeing the previews and stills, I did have interest in Ang Lee’s HULK. Not after seeing them, however. I can’t even remember what prompted me to finally see the 2003 HULK, since I’m not an Ang Lee fan (with notable exception). And, no surprise, the HULK movie’s pretty terrible, even though most of the cast is good (in other things). Sometimes really good. I remember the HULK post did encourage conversation on publication, but it no longer gets many readers. Does pretty bad, actually.

Jet Li and Morgan Freeman star in DANNY THE DOG, directed by Louis Leterrier for Europa Corp.

Danny the Dog (2005, Louis Leterrier)

If I saw the DANNY THE DOG trailer–probably called UNLEASHED–I would’ve laughed at it. It should be bad. I think I saw DANNY during my “rediscovery” of Luc Besson (watching his movies when I needed some but not too much distraction). And DANNY THE DOG is an awesome action movie. Really, really good stuff. Proof Luc Besson can do good in an unexpected pinch. Sadly, DANNY THE DOG has had some of the lowest feature readership I’ve seen since looking through stats. I wish people had interest.

Harry Langdon stars in SATURDAY AFTERNOON, directed by Harry Edwards for Pathé Exchange.

Saturday Afternoon (1926, Harry Edwards)

I only sort of remember SATURDAY AFTERNOON. I think there was a lot of exterior Los Angeles shooting. Maybe. It isn’t so much the Harry Langdon shorts I watched meld in to one another, they didn’t have enough specific content to be memorable. Films ceasing to be disposable (especially shorts), which kept going for years, was one of the interesting things to discover. The SATURDAY AFTERNOON post actually got some readers. It does terrible now, which is fine, but for bad slapstick, it started okay.

Paul Hogan, Linda Kozlowski, and David Gulpilil star in CROCODILE DUNDEE, directed by Peter Faiman for Hoyts Distribution.

Crocodile Dundee (1986, Peter Faiman)

Given my age, I grew up with CROCODILE DUNDEE. So did my wife. Not sure why we watched it. In a retro mood? Much of the film is ingrained in my childhood movie memory–thanks to repeated viewings and advertising; the rest of it was muddled. CROCODILE DUNDEE, along with a lot from the eighties, underwhelms when compared to childhood enthusiasm while still being okay. It’s a relatively recent post, but there’s not much interest from readers in CROCODILE DUNDEE. The numbers are very low year-to-year.

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