THE DANMAN CAN

The Apartment (1960) is  Billy Wilder 's best film, in a career filled with many incredible films—the perfect blend of dry humor, mild cynicism, and relatable drama. The themes (suicide, infidelity, men in positions of power) are still relevant and the tone is just right.  Jack Lemmon and Shirley MacLaine have never been better and Wilder handles the dark subject matter with the utmost respect.

1.   Blade Runner 2049   ****1/2 ( Review , Review 3 ) 2.   Lady Bird  ****1/2 ( Take 2 Review ) 3.   The Shape Of Water  ****1/2 ( Review ) 4.   Paterson   (2016) ****1/2 ( Review ) 5.   I Am Not Your Negro  (2016) ****1/2 6.   Three Billboards Outside Ebbing, Missouri  **** ( Review ,  Review 3 ) 7.   Lucky **** ( Review ) 8.   Logan Lucky **** ( Review ) 9.   Baby Driver  **** ( Review ) 10. Get Out  **** ( Review , Take 2 Review ) 11. David Bowie: The Last Five Years   **** 12. It  **** ( Review , Take 2 Review ) 13. Dunkirk  **** ( Review , Take 2 Review ) 14. Logan **** 15. It Comes At Night  **** ( Take 2 Review ) 16. The Killing Of A Sacred Deer  **** ( Review ) 17. Kedi  (2016) **** ( Review ) 18. Phantom Thread  ***1/2 ( Review ) 19.  Star Wars: The Last Jedi  ***1/2 ( Review ) 20. Brawl In Cell Block 99  ***1/2 ( Review ) Honorable Mentions 1.   The Disaster Artist ***1/2 ( Review ) 2.   War For The Planet Of The Apes   ***1/2 ( Review ) 3.   Mo

Brawl In Cell Block 99  (2017) is a solid ultra violent slow burner for fans of Old Boy (2003), Riki-Oh: The Story Of Ricky (1991) and S. Craig Zahler 's debut Bone Tomahawk   (2015).

In Role Models ,   John Waters praises his heroes and those that influence him and in doing so reveals more about what makes him tick, what inspires him, and why we "happily damaged" fans love him so.

Paul Thomas Anderson is certainly a director whose films don't always bowl me over on first viewing. I wasn't in love with either  The Master   (2012) or  Inherent Vice  (2014) the first time I saw either, though I appreciated his impeccable craft in both cases. I warmed to both films on "Take 2" and in the case of Vice , reading the book before my second viewing helped a great deal. So we come to Phantom Thread  (2017), a film that I absolutely need another viewing to properly gauge how I feel about it. Again, the technique is virtually flawless—the costumes, production design and acting is all high caliber, but my first impression leaves me underwhelmed. Thread  feels a bit too straightforward for a PTA film. The characteristics and mannerisms of the two leads feel familiar for those who've seen Anderson's previous films, but there's not enough..."oddness" to them. There's subtle sociopathic jabs that occur but never any truly cathartic

Carrie  (1976) is the ultimate high school horror story. Countless films have been inspired by and imitated Carrie (and it's been remade twice) but none can match the delicious blend of melodrama, humor, tension and technique that De Palma  created. Sissy Spacek  and Piper Laurie are pitch perfect, Pino Donaggio 's score is sumptuous and melancholic, and Mario Tosi 's cinematography is impressive and memorable. Check out my Brian   De Palma Feature Films Ranked list here .

None of the magic of my first viewing (see review here ) was lost on Take 2. If anything, it only got better.  The Shape Of Water  (2017)   is a film that will stand the test of time with its simple yet complex beauty.

Murnau 's Faust  (1926) looms large as one of the best silent films ever made for its innovation, influence and ingenuity. The perfect blend of drama, horror, and humor combined with impressive f/x work make for a film that stands the test the time, with a message that rings true: love conquers all.

All The Money In The World ,   Ridley Scott 's second film of 2017 is definitely better than the first ( Alien: Covenant ) but still isn't up to par with the best of his work. The actors are all fine, the production quality is high, and the story (based on true kidnapping events) is intriguing, with some tense moments, but this is certainly middle tier Scott. Nevertheless, it's impressive to see the 80-year-old director still creating consistently solid films.

Focus On Film   Episode 60  is up! Danman and Rygar talk about some things and most of those things are films + more! Download the MP3  HERE In this episode: March 2018  Criterion Collection  Titles Announcement Criterion Most Wanted Best & Worst Of The Month   – Lady Bird  (2017), The Shape Of Water (2017), The Room   (2003), Hellraiser III: Hell On Earth (1992)

A southern fried  Ocean's   with hints of  Out Of Sight  (1998).  Logan Lucky   (2017) is so much damn fun. The best  Elmore Leonard -esque film made since he passed.

How I managed to only see The Man With Two Brains  (1983) for the first time tonight is beyond me. It's incredibly funny, very much in the Zucker Bros  style of physical humor, and I've never heard it mentioned as a great comedy. I bought it based on the Martin / Reiner  combo, since I really enjoy The Jerk (1979), and I'm glad I did. I love the quirky score for this film too - a mix of Italian sounding prog with 80s synths. Looks like I'll have to pick up Dead Men Don't Wear Plaid   (1982) and finally get around to watching that as well.

I watched  Doc Hollywood  (1991) a lot in the early 90s. I hadn't seen it since then and I was pleased to find that it's just as charming, playful and funny as I remembered. This film was a perfect vehicle for Michael J. Fox and it definitely stands the test of time, even subverting expectations a number of times.

I was late to the game reading Warren Zanes'   Petty: The Biography  but I'm incredibly grateful that he was able to release the book before Petty 's untimely death earlier this year (I'm also grateful that I got to see Tom Petty And The Heartbreakers  live in 2002). After Petty 's death a couple of months ago (a celebrity passing that affected me as much as David Bowie 's), I decided it was time I finally picked up this book to learn more about the man and band whose songs I grew up with and love. If you're a fan, this book is pure gold - no whitewashing, just honest interviews and the true story of the man and band that I always think of first when it comes to American rock 'n' roll. I only wish it were longer and even more in depth because I couldn't get enough.

Innocent Blood  (1992) is a a fun and funny vampire meets mob movie mashup that's a bit too long and loses some steam in the second half. I somehow only managed to see this for the first time tonight. An enjoyable flick.

I really enjoyed Star Wars: The Last Jedi (2017) a lot—loved a lot about it, in fact. But I can't say that I got goosebumps at any particular moment like I did with The Force Awakens  (2015). Maybe it's because, in the case of TFA ,   it had been much longer between SW   films and the prequels didn't age well at all. Maybe I expected too much from TLJ . I do know that I am looking forward to a second viewing, and as I did with TFA , I will likely see TLJ  again in the theater. I do really appreciate that Rian Johnson  tried some new things. I wouldn't call it a sea change though—he stuck to the look and the lore and still largely succeeded in making a film with his own stamp. The good:  The battle sequences were excellent—largely coherent and well staged. The film felt strongest to me when it focused on the link between Rey and Ren, and also the scenes between Luke and Rey. Luke had a particularly strong scene where he got to show off his Force skills. The design

Krull   (1983) is the best big budget box office failure cult  Star Wars / Excalibur / The Lord Of The Rings   (with hints of H.R. Giger ) knockoff in existence.

I seem to recall having seen Joe Versus The Volcano  (1990) multiple times before but as rewatched it I recalled almost none of it. I'm glad I revisited it — it's a really cute, funny, existential fairy tale with a dark tinge and some fantastic production design, channeling various directors from Fritz Lang  to Terry Giliam to Tim Burton . These are the kinds of romantic comedies that I like — ones that aren't afraid to be original and a little weird.

If I recall correctly, the first time I saw Liquid Sky (1982) was when I was 13 or 14 years old. On "Take 2", I only remembered bits and pieces, but I thoroughly enjoyed the rewatch. What a bizarre, unique, and highly influential cult film. If you love weird cinema, Liquid Sky delivers one of a kind neon thrills with its blend of amateur acting, early '80s NYC backdrop, Punk/New Wave fashion, a squonky/eerie  Fairlight CMI score, and experimental style.

The Shape Of Water  (2017) is a beautiful, brutal adult fairy tale   and a good old fashioned romance (with more nudity), all directed masterfully and impeccably by that modern movie wizard Guillermo del Toro . Water most closely resembles the films of  Jean-Pierre Jeunet in design, tone and even parts of the score by Alexandre Desplat , but I definitely got a Spielberg vibe too. All the leads are on point - Sally Hawkins   as the daydreaming headstrong mute, Michael Shannon  as the imposing violent force, Richard Jenkins   as the vulnerable relatable loner, Doug Jones   as the literal fish out of water, both powerful and tender. The story certainly follows a formula of sorts and the actors play strong archetypes but it's all filtered through the unique vision of  del Toro . And what a vision - Water  is easily the most gorgeous film of 2017 (giving Blade Runner 2049  (2017) a run for its money) and one of my favorites from this year as well. This is a movie that demands a s

The Disaster Artist  (2017) is a really good, funny movie made with heart about a really bad movie made in earnest that turned out to be really funny.

I'm not sure what it is that is particularly appealing about  The Room  (2003) as a film, but on my third go-around it's still fun and ridiculous. Naturally I had to revisit it before seeing The Disaster Artist  (2017) tomorrow.

The Brood  (1979) is when  Cronenberg   really hit his stride. This tale of manifested rage holds up very well over the years thanks to strong lead performances by Reed  and Eggar , a moody  Shore   score (his first of many with Cronenberg), a high creep factor, and a perfect blend of psychological drama and low budget horror.

 A holiday sleaze classic. It's always Christmas on the "Warm Side Of The Door" . "Two ball in the corner pocket."

On "Take 2" I think just a tiny bit of steam was taken out of  Get Out   (2017),  Jordan Peele 's mashup of  Rosemary's Baby   (1968)   &  The Stepford Wives  (1975) (with hints of  Kubrick ,  Cronenberg  and  Carpenter ), as told from the Black perspective. Minor quibbles about backstory, character development and direction aside, it's still one of the best horror films in some time and one of the best films of the year, as well as an important and historic film for both the horror genre and film in general.

Hellraiser III: Hell On Earth  (1992) brought the series into the '90s and with it every cliche of that decade's horror films (bad fashion, poor performances, hyper-stylized camerawork, cheesy music). Gone is the cold blue look of the first two films, gone are the strong lead performances, gone are the tragic familial elements, and gone is the old school gothic flavor. While it ups the action, it also ups the silliness, particularly when it comes to the Cenobites (and even Pinhead is a bit too pristine). It's not bad per se, and I like that it didn't simply try to replicate the first two films, but Hellraiser III  works better as a slice of fun entertainment and less as a thought-provoking meditation on themes, as with the first film and the first half of the second.

I've always loved the first hour of Hellbound: Hellraiser II  (1988) more than the rest of the film. The buildup in this case is much more interesting than the payoff. Once the characters actually go to Hell, Hellbound  starts to gradually lose steam. I do appreciate the special f/x artistry that went into Hellraiser II and it's nice to get more Cenobite action but the delivery and the performances veer a bit too much into horror tropes and cliches at times in the last 40 minutes.  Kenneth Cranham   as Doctor Channard is a much more menacing presence before he becomes a Cenobite, where he proceeds to do nothing but spout one-liners. Not to mention that some of the sets/design are a bit cheesy and the editing a bit sloppy in the Hell segments. Still, it's good grotesque gothic entertainment.

Hellraiser   (1987)— Clive Barker 's micro-budget horror classic of obsession and eroticism—holds up very well after 30 years thanks to excellent, gooey special f/x, strong lead performances by  Andrew Robinson  and  Claire Higgins , touches of surrealism, a brilliant score by  Christopher Young , and an iconic "villain" portrayed by  Doug Bradley .

Three Billboards ... (2017) sees  McDormand , Harrelson  and Rockwell  giving complex, multifaceted performances in a film involving tough subject matter (rape, murder, arson, assault, discrimination, cancer, police torture, suicide and more) yet filled with humor and heart (and cuss words) throughout, all assuredly directed by  McDonagh  ( Seven Psychopaths  (2012)).

The Eyes Of Laura Mars   is a slick little thriller, directed by  Irvin Kershner  ( The Empire Strikes Back   (1980)), and based on a story/screenplay co-written by  John Carpenter . Faye Dunaway plays a fashion photographer who can somehow see behind the eyes of a killer as they take out their victims. Her visions come across in her work, depictions of sexualized murder scenes. Tommy Lee Jones , Raul Julia and Rene Auberjonois all give good supporting performances, but my favorite is Brad Dourif , who gets all the choice lines. Carpenter draws  heavily  from his love of  giallo  here, to the point that if this was filmed in Italy, it  would  be a giallo. If Eyes was directed by an Italian, it feels like it might have been  Sergio Martino  or Luciano Ercoli   and less so  Argento , one of   Carpenter's   most name-dropped influences.