The COVID-19 “social distancing” recommendations were still in place for most of month of May which led to some excellent movie watching at home. I’m still going strong with my 2020 movie project of watching all 50 movies listed in the cool book from Turner Classic Movies (TCM) called Must-See Sci-Fi: 50 Movies that Are Out of This World by Sloan De Forest (Running Press, 2018; available at Amazon.com and Shop TCM). The complete list of 50 films is here.
Now that we’ve entered the 1960s, the films have been much more experimental and esoteric. Here’s the rundown of this month’s movies courtesy of my Instagram feed.
I am still having fun with and learning a lot with my 2020 movie project of watching all 50 movies listed in the cool book from Turner Classic Movies (TCM) called Must-See Sci-Fi: 50 Movies that Are Out of This World by Sloan De Forest (Running Press, 2018; available at Amazon.com and Shop TCM). The complete list of 50 films is here.
Here’s the current rundown on the films I watched in April (courtesy of my Instagram feed; and sorry to be slow in posting this).
I am still carrying on with my 2020 movie project of watching all 50 movies listed in the cool book from Turner Classic Movies (TCM) called Must-See Sci-Fi: 50 Movies that Are Out of This World by Sloan De Forest (Running Press, 2018; available at Amazon.com and Shop TCM). The complete list of 50 films is here.
Here’s the current rundown on the films I watched in March (courtesy of my Instagram feed; and sorry to be slow in posting this). Most of the March movies were alien invasion or monster movies (or both)…not necessarily comforting viewing during the COVID-19 pandemic currently happening, but these are still great sci-fi films.
I am still having a blast with my 2020 movie project of watching all 50 movies listed in the cool book from Turner Classic Movies (TCM) called Must-See Sci-Fi: 50 Movies that Are Out of This World by Sloan De Forest (Running Press, 2018; available at Amazon.com and Shop TCM). The complete list of 50 films is here.
Here’s the current rundown on the films I watched in February (courtesy of my Instagram feed).
Sorry I’m a little slow in posting this, but I’ve been having a blast with my 2020 movie project of watching all 50 movies listed in the cool book from Turner Classic Movies (TCM) called Must-See Sci-Fi: 50 Movies that Are Out of This World by Sloan De Forest (Running Press, 2018; available at Amazon.com and Shop TCM). The complete list of 50 films is here.
Here’s the current rundown on the films I watched in January (courtesy of my Instagram feed).
Happy 2020! This year’s movie watching project has me over the moon, truly.
I am planning to watch all 50 movies listed in the cool book from Turner Classic Movies (TCM) called Must-See Sci-Fi: 50 Movies that Are Out of This World by Sloan De Forest (Running Press, 2018; available at Amazon.com and Shop TCM).
Here’s the list of the 50 films (plus I’m also going to watch Disney’s wild and wacky sci-fi flick The Black Hole from 1979 which is not included in the book but is a total sci-fi guilty pleasure).
* Watched in 2019 ** Never seen before
A Trip to the Moon (1902)
Island of Lost Souls** (1932)
The Invisible Man (1933)
Things to Come** (1936)
The Thing from Another World** (1951)
The Day the Earth Stood Still (1951)
It Came from Outer Space (1953)
The War of the Worlds (1953)
20,000 Leagues Under the Sea (1954)
Forbidden Planet (1956)
Invasion of the Body Snatchers* (1956)
The Incredible Shrinking Man (1957)
The Fly (1958)
The Blob (1958)
The Time Machine (1960)
La Jetée** (1962)
These Are the Damned** (1962)
Fantastic Voyage (1966)
Planet of the Apes (1968)
2001: A Space Odyssey (1968)
THX 1138 (19710
A Clockwork Orange (1971)
Silent Running** (1972)
The Man Who Fell to Earth** (1976)
Logan’s Run (1976)
Star Wars (1977)
Close Encounters of the Third Kind (1977)
The Black Hole (1979); not on original list—added for my own guilty viewing pleasure
E.T. – The Extra-Terrestrial (1982)
Blade Runner (1982)
The Brother from Another Planet** (1984)
The Terminator (1984)
Back to the Future (1985)
Jurassic Park (1993)
The Matrix (1999)
A.I. Artificial Intelligence (2001)
Eternal Sunshine of the Spotless Mind (2004)
District 9 (2009)
I hope you’ll join me in following along or, better yet, watching some or all of these films with me! I will be keeping a log of the films on my Instagram feed (@moviespap), my Letterboxd page (stanfordclark), and will be reporting regularly here on the blog and podcast.
We love The Criterion Collection here at Movies Past and Present. We’re a charter subscriber to their upcoming Criterion Channel, which allows us access to the “Movie of the Week” films they are providing early subscribers before their streaming service officially launches on April 8.
This week’s movie of the week is Chungking Express (1994) and I haven’t been able to stop thinking about it. Made in Hong Kong and written and directed by Hong Kong-based director Wong Kar-wai, the film is a unique combination of police drama, film noir, and romantic comedy.
As stated on the film’s page on the Criterion website: “The whiplash, double-pronged Chungking Express is one of the defining works of nineties cinema and the film that made Hong Kong filmmaker Wong Kar-wai an instant icon. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung), both jilted by ex-lovers, cross paths at the Midnight Express take-out restaurant stand, where the ethereal pixie waitress Faye (Faye Wong) works. Anything goes in Wong’s gloriously shot and utterly unexpected charmer, which cemented the sex appeal of its gorgeous stars and forever turned canned pineapple and the Mamas and the Papas’ ‘California Dreamin’’ into tokens of romantic longing.”
Here’s a trailer for the U.S. release of the film.
As mentioned, it’s two stories in one, with each story about a broken-hearted policeman. Story one focuses on Cop 233 (played by Takeshi Kaneshiro) who deals with his girlfriend leaving him by finding and buying a can of pineapple each day with the expiration date of May 1, the one-month anniversary of their breakup (and with the promise that he’s going to eat all 30 cans on May 1). Stating that everything has an expiration date, Cop 223’s sadness lingers on, even in the throws of a big case he is working on with a mysterious woman wearing sunglasses who is involved in a dangerous drug ring.
Story two is overall a bit lighter in tone with heartbroken Cop 663 (played by Tony Leung) that has just been dumped by his flight attendant girlfriend. He starts to rebound by falling for a waitress named Faye (played by Faye Wong), who’s got some commitment problems of her own. Still, she is interested enough in Cop 663 to start intervening in his life in a rather unusual way.
Chungking Express is challenging, strange, and beautiful—really a unique piece of cinematic art. Many thanks to the Criterion Channel for continually expanding my cinematic horizons.
While the Blu-ray and DVDs of The Criterion Collection’s edition of Chunking Express are presently out of print, let’s hope that the film makes it to the upcoming Criterion Channel streaming service.
I love The Criterion Collection. In case you’re not familiar with them, Criterion curates, restores, and releases films for the home video market. Throughout the year, they release important and noteworthy classic and contemporary films on the latest medium (currently Blu-ray and DVD). Working with filmmakers and film scholars, the brilliant folks at Criterion make definitive editions of films with meticulous digital transfers along with fascinating commentary tracks and relevant supplemental features. They work hard to “ensure that each film is presented as its maker would want it seen and published in an edition that will deepen the viewer’s understanding and appreciation of the art of cinema” (from the Criterion website FAQ).
(On a side note, Criterion often hosts filmmakers in their New York City headquarters and they let them pick a few films out of their closet. Pictures and videos are recurrently posted on Criterion’s Instagram feed and YouTube channel. A trip to the Criterion closet is definitely a dream of mine. Here are a couple of examples.)
As far as streaming services go, Criterion recently collaborated with Turner Classic Movies (TCM) on the now defunct FilmStruck subscription service. FilmStruck was movie heaven for fans (like me) of classic, international, and art cinema. The loss of FilmStruck was really a devastating blow, both for the teams at TCM and Criterion who worked so hard to make the service great and for the subscribers who loved the service. However, happy days are here again because Criterion has just announced that April 8 will be the official launch of their new, exclusive Criterion Channel streaming service.
The service costs $9.99 a month or $89.99 a year. They are offering special incentives to “Charter Subscribers” (aka subscribers who join before the April 8 launch date). Signing up now will give Charter Subscribers an extended 30-day trial (which will start April 8). Charter Subscribers also get “concierge customer service from the Criterion Collection, a dedicated e-mail address to write to, as well as a holiday gift certificate for use on the Criterion Collection website” (which probably is pretty cool).
As an added bonus, Charter Subscribers will get access to a “Movie of the Week” that can be watched exclusively online (access via apps and other platforms will happen on April 8). This week’s movie is the gangster drama Mikey and Nicky (1976) starring Peter Falk and John Cassavetes and written and directed by Elaine May. The Criterion Collection version of the film was just released on January 22, 2019. I’m a Charter Subscriber (I signed up the second I saw the tweet from Criterion) so I’ll be checking out these Criterion “Movie of the Week” titles from now until launch and will include reviews and commentary on the blog and podcast starting next week.
Walt Disney’s Sleeping Beauty (1959) is celebrating its 60th anniversary today.
I have always been a fan of the film’s distinctive look, which is primarily attributed to production designer and artist extraordinaire Eyvind Earle.
The folks at D23, the official Disney fan club, have been posting some cool Sleeping Beauty articles over the past few days to commemorate the film’s 60th anniversary. One of the articles describes Earle’s approach to the film’s unique design:
“Determined to make this new film a Disney animated feature like no other, Walt assigned stylist Eyvind Earle as production designer. Creating a stylized approach that was a radical departure from previous Disney animated features, Earle combined Gothic French, Italian, and pre-Renaissance influences with his own abstract style of realism to create the formalized elegance and stylish design seen in Sleeping Beauty. To create the sumptuously stylized panoramas for this widescreen spectacle, Earle painted dozens of backgrounds in his distinctive style, some of them 15 feet long. Animation artist Tom Oreb skillfully incorporated the strong horizontal and vertical planes of the backgrounds into the character design, so that they had the Earle flair.”
Also stated in the D23 article is the painstaking work that was required to create the film. “Sequence director Eric Larson recalled the conscious effort to strive for Sleeping Beauty perfection. ‘Walt told me after one story meeting that he didn’t care how long it took, but to do it right,’ he said. Walt challenged the more than 300 Sleeping Beauty artists and technicians to make each frame an independent work of art. Because of the intricate stylization of the characters, the assistant animators had to work carefully with exacting specifications, even down to the exact thickness of the pencil lines. In the case of the carefully designed Briar Rose, it took one full day to create one cleaned-up animation drawing. For the jewel-like colors selected by Eyvind Earle, the Disney Paint Lab developed new hues using additives that gave the pigments a glow on the screen unseen in any animated film that had come before.”
Another interesting item of note is that brilliant animator and artist Marc Davis was assigned to animate both the film’s protagonist (Princess Aurora/Briar Rose) and the antagonist (Maleficent).
The film was the first animated movie shot in Super Technirama 70 widescreen (and the second to filmed in widescreen after 1955’s Lady and the Tramp). It was also released in 6-channel stereophonic sound. Here’s a clip (and check out those amazing Eyvind Earle trees).
The great art of Sleeping Beauty lives on today. Princess Aurora even made a stylized appearance, along with all of the other princesses from Walt Disney Animation Studios and Pixar Animation Studios, in last year’s Ralph Breaks the Internet. Here’s a tribute tweet today from Walt Disney Animation Studios.
Here’s some great art by Walt Disney Animation Studios artist Lorelay Bove, too.
Speaking of D23, I am seeing Sleeping Beauty on the big screen next month as part of special D23 event and I can’t wait (more to come).