★★★★★

&

My Hall of Fame

Few films are as emotional stirring as Leo McCarey’s “Make Way for Tomorrow” (1937). It’s not a movie you can watch without becoming involved in the sweetness of the story and the love that these characters share.

The story for “Make Way for Tomorrow” is actually quite simple. A 70 year old couple, Ma and Pa Cooper (Beulah Bondi and Victor Moore), who after 50 years of marriage have lost their home to the bank, gather four of their five children together (the fifth lives on the other side of the country) and they explain the situation to them. Immediately there is hesitation in the children’s attitudes. One daughter has enough room, but says her husband won’t allow them. The children decide that the best thing to do is split up the parents at two of the children’s homes until a more permanent solution can be found.

Ma goes to live with her son, George (Thomas Mitchell), his wife (Fay Bainter) and their 17 year old daughter (Barbara Read). Pa lives with their daughter, Cora (Elizabeth Risdon), and her husband (Ralph Remley), but because they don’t have an extra room he is force to sleep on the couch. It doesn’t take long to figure out that these living arrangements won’t work for long. The families are irritated with the “hassle” of having another person around. Ma and Pa are constant interruptions into their children’s own lives, and in no time at all, the children are making new arrangements for their parents’ final years.

Orson Welles once said of “Make Way for Tomorrow”, “It would make a stone cry”.  That is probably the shortest and most accurate description of this film. It doesn’t matter who you are, or where you are in the world today, this poignant story will work it’s way into your very soul, and touch you in ways you didn’t know possible. Few films can fill you with such a desire to love, and be loved, the way “Make Way for Tomorrow” can.

So why is this simple film so deeply moving? Because director Leo McCarey knew what he was doing. The first third of the film is pretty easy going. McCarey intersperses comedy and drama by showing the lighter side to the Coopers’ predicament. As both Pa and Ma begin to get on their children’s nerves, we , as the audience, completely see why they are so bothered by the eccentricities of this older couple. Both Ma and Pa can be irritating and difficult, but don’t fall for the trap. The moment you start to think about how you would feel the same way that the children do, that is when you’re stuck. And boy will you feel sorry later.

They are irritating. They annoy almost everyone, they interfere where they don’t belong and worst of all, they make their children’s lives more difficult to endure. Of course the only thing they want- their only request is that there is some hope, even a meniscule chance, that one day they will be together again.

Beulah Bondi and Victor Moore give the best performances of their careers, hands down. They completely feel like a real couple who have spent the last 50 years together. Each of them does more brilliant acting in this film than the rest of their career combined. Bondi was only 49 at the time and Moore was only 61, yet they pull off the 70 year old couple look and demeanor with the greatest of ease.

Leo McCarey is famous for many of his wonderful films. Whether making a drama like “An Affair to Remember” (1957), or a musical like “Going My Way” (1944), or even a great comedy such as “Duck Soup” (1933) or “The Awful Truth” (1937), McCarey always seems to know and understand how to evoke the proper emotions from his audience. He is truly a masterful filmmaker, and deserves to be regarded much higher than he is today. For those of us how spend countless hours in the make believe world of movies, “Make Way for Tomorrow” will remind you that you’re human once again.

When McCarey won his Best Director Academy Award in 1937 for his work on “The Awful Truth”, he said in his acceptance speech, “I want to thank the Academy for this wonderful award, but you gave it to me for the wrong picture,” showing his own appreciation for“Make Way for Tomorrow”. He even went so far as to call it his favorite among his many great and successful movies. And do you know something? I think he was right.

In 1937, “Make Way for Tomorrow” was not one of the highest grossing film of the year. It was nominated for zero Academy Awards. There was much praise from critics for the quality of the production, the acting, and even the beauty of the tender and emotional story, but the fact that the movie has a serious tone kept the audiences at bay. Now, more than 70 years later, it is considered a landmark of depression era cinema by critics, audiences, and even other filmmakers, as Frank Capra, John Ford, Orson Welles and Jean Renoir all considered this one of the greatest films of all time. It also served as the inspiration for Yasujiro Ozu’s highly acclaimed “Tokyo Story” (1953). “Make Way For Tomorrow” is included in the “1001 Movies You Must See Before You Die”, as well as being a part of The Criterion Collection. “Make Way for Tomorrow” is also a part of the Lasso the Movies “Hall of Fame”. All of this I am sure would make Leo McCarey proud; even if it did take us so long to understand what he already knew in 1937; “Make Way for Tomorrow” is quite simply, perfect.

★★★

When the original, “The Fast and the Furious” (2001) was released, I never thought that the series would make it so far. However, thanks to exciting chase scenes, enjoyable, recognizable characters and enough high-octane thrills to keep everyone smiling, this sixth installment, “Fast and Furious 6″ (2013) proves that there is no limit to how far these films could go. This band of hard-driving misfits sure has come far- and fast.

“Fast and Furious 6″ commences a couple of years after the successful heist that made all of Dominic’s (Vin Diesel) crew incredible wealthy at the end of “Fast Five” (2011). DDS agent Hobbs (Dwayne Johnson) and his assistant, Riley (Gina Carano), track Dominic down and ask him to help in the apprehension of a highly trained crew of car racers, headed by a former Special Forces soldier, Owen Shaw (Luke Evans). Dominic agrees because Hobbs has a recently taken photograph of Dominic’s supposedly dead girlfriend, Letty (Michelle Rodriguez), who is now working with Shaw. Dominic recruits members of his old crew to help him, including O’Conner (Paul Walker), Roman (Tyrese Gibson), Tej (Ludacris), Han (Sung Kang) and Gisele (Gal Gadot). They are all promised full pardons for ALL previous criminal activities if they assist Hobbs in taking down Shaw and his crew.

I expect that is about all the plot that is necessary to understand and appreciate this movie. Let’s be honest, “Fast and Furious 6″ is not going to be winning any major awards, especially in the story department, because it’s not meant to be that kind of a picture. It’s entertainment, and very little more. But doesn’t that just make everything better anyway? You don’t go to see a movie like this unless you’re looking for entertainment, which this film delivers in abundance. If the filmmakers tried to throw in more substance, we would just complain that the film lacks high-speed action.

The car chases alone make this film worth seeing. The skill of the stunt drivers and the ability with which the filmmakers capture the never ending parade of action is monumentally impressive, and needs to be appreciated in its own right. Car chase scenes in films have fallen by the wayside in recent memory, but in the “Fast and the Furious” series it really is the frame on which everything else is built.

Unbelievable precision driving scene after scene, filled with hand to hand combat and plenty of light-hearted laughs, create the perfect movie to help anyone escape from the real world. Of course, you have to take the cheesy script and impossibly unrealistic stunts along with the ride too, but we (as fans of this series) have come to expect these things and would be disappointed if they weren’t included as well. What is great about this film is that because of the success that this series has already obtained, the story could pick up right in the middle. It also sets up the next film in the series, which should be coming along sometime in the next year.

Director Justin Lin will not be returning to direct the next film and it is really a shame. He has directed numbers three through six, and each film seems to step things up even more. (I don’t even know how things can get larger at this point.) When he came into this franchise it was at its lowest point, but Lin pulled it back and made the series what it has become. Here’s hoping the entertainment and fun of these films isn’t walking away with him.

 ★★

Anyone expecting the closing chapter of “The Hangover” (2009-2013) series to be as epic as it began back in 2009, is in for some serious disappointments. After the “Wolf Pack’s” adventures in Las Vegas in ’09, and then the reuniting in Bangkok in 2011, everyone has high hopes for this concluding installment in this monumentally successful franchise. Unfortunately, due to an attempt to divert the audiences attentions to reliving the past, instead of embarking on new adventures, “The Hangover Part III” (2013) feels worn out and tired.

Writer, producer, director Todd Phillips knew better than to try the whole bachelor party idea a third time. In this film, Phil (Bradley Cooper), Stu (Ed Helms) and Doug (Justin Bartha) hold an intervention for Alan (Zack Galifianakis) after his life begins to spiral out of control, following the death of his father (Jeffrey Tambor).

On the drive to a rehabilitation center in Arizona, the four are hijacked by a drug lord named Marshall (John Goodman), who is trying to hunt down the legendary Leslie Chow (Ken Jeong). Chow stole 21 million dollars in gold from Marshall, escaped from his maximum secruity prison, and has now disappeared without a trace. Marshall figures the Wolf Pack has the best chance of finding Chow, so he keeps Doug as his hostage, and gives the others three days to recover both Chow and his gold.

It’s not that “The Hangover Part III” isn’t funny, as there are several opportunities to laugh, it’s just that the laughs are almost forced because we love these characters and want to laugh. Everything that made the original film great has now grown stale, and this installment doesn’t offer anything as shockingly ridiculous (and wonderfully appreciated) as the originality of the first film. In 2009, when audiences sat in a theater and watched “The Hangover”, it was so over the top that you couldn’t help but laugh so hard that it hurt. That is no longer the case.

What can be said for this film is that it properly allows fans of the franchise a chance to experience closure. “The Hangover Part II” (2011) is a standard sequel that tries to recreate what made the first film successful, and “The Hangover Part III” does what so many part III’s do, returning the same characters, to the same location as “Part I”; primarily Las Vegas. We get to go back to Caesar’s Palace, back to see Jade (Heather Graham) and her now four year son (Grant Holmquist). We even get to see “Black Doug” (Mike Epps) once again, who this time figures more prominently into the story. It’s nice to be given closure to this historic series, but because the first two films redefined the word crazy, “The Hangover Part III” can’t live up to it’s own past.

Movies opening in theaters this weekend

Memorial Day weekend is upon us, and that means it’s time to go to the movies! As it is certain to be a hugely successful (or at least hugely profitable) weekend at the box office, studios have brought out their big guns in an attempt to drawn in the crowds. The question is, “What will you be going to see?”

Opening Thursday, May 23rd, 2013:

• “The Hangover Part III” (2013): And who says lightning never strikes the same place twice… or three times? Looking to re-create the success from the first chapter in this comedy series, writer, producer, director Todd Phillips has found another way to get Phil, Stu, Alan and Doug back out into the desert. This time it’s not a bachelor party, but rather an intervention that brings our friends together, but just like in the first two installments, their lives will never be the same again. Bradley Cooper, Ed Helms, Zach Galifiankis and Justin Bartha all return to the series, as does Ken Jeong, Heather Graham and Mike Epps. And just to make sure there are enough greatly talented comedians in this film, John Goodman has also joined the cast. Can this film be as epic as the filmmakers are hoping?

Opening Friday, May 24th, 2013:

• “Fast & Furious 6″ (2013): Where “The Hangover Part III” has been up front and honest about this being the final film in the series, “The Fast and the Furious” (even as the sixth film is opening) might just be getting warmed up. It seems each time they make another film in this series, the plots get less important, the list of actors gets longer, they make more money, and well,… they just keep becoming more fun to watch. This time around, Dominic Toretto (Vin Diesel) and his team of thrill seeking drivers has been offered full pardons for their years of criminal activity, if they are willing to join Agent Hobbs (Dwayne Johnson) in his attempt to stop some kind of vehicular terrorist. Oh yeah, and Dominic’s dead girlfriend, Letty (Michelle Rodriguez), is back as well. The film also stars Paul Walker, Luke Evans, Jordana Brewster, Tyrese Gibson and Ludacris. There may even be an appearance by Jason Statham, who is said to be the mastermind villain, although he won’t figure into the plot until “Fast and the Furious 7.” Look for “Fast and Furious 6″ to be the big moneymaker this weekend.
• “Epic” (2013): From the director of “Ice Age” (2002) and “Robots” (2005), comes this 3D animated film based on the children’s book by William Joyce. The story centers on a young girl who is magically shrunk in the yard and meets a group of warriors known as the Leafmen. Before she can return to her normal size she must assist these little warriors in a battle of good and evil against the Boggans. This is the first big children’s release of the summer, so I’m expecting it to do pretty well, especially considering the added draw of this being filmed in 3D. “Epic” features the voice talents of Beyonce Knowles, Colin Farrell, Christoph Waltz, Amanda Seyfried, Josh Hutcherson, Pitbull, Aziz Ansari and Steven Tyler.
• “Before Midnight” (2013): Back in 1995 (“Before Sunrise”), when Jesse and Celine spent the night walking around Vienna, I never would have thought we could still be so interested in their lives today. In 2004 (“Before Sunset”), when we reunited with them in Paris, their chemistry and relationship was just as enthralling as it had been nine years earlier. Now, another nine years later, thanks to the films stars and director Richard Linklater, we once again get to check in on this magnificent couple and their ever changing lives. This series of films has proven to be one of the most interesting to watch because of the time between each film. It really feels as if Ethan Hawke and Julie Delpy are a couple, and I only hope we can look forward to a fourth installment in this series in 2022. This movie will be opening in a limited release, so keep an eye out for when it hits your theater.

★★★

James Bond #6: “On Her Majesty’s Secret Service” (1969)

Of all the films in the James Bond franchise, “On Her Majesty’s Secret Service” is perhaps the hardest to examine. It’s unlike like the other films, and therefore doesn’t compare well. In fact, you could watch this movie pretending it’s not a Bond film, and you might have an entirely different opinion than if you simply think of it as another in the series.

In this sixth installment, James Bond (this time played by George Lazenby) is searching for the leader of the criminal organization known as SPECTRE, Ernst Blofeld (Telly Savalas). A chance meeting with Countess Tracy di Vicenzo (Diana Rigg) leads Bond down two paths. First, a love affair that is much more involved than what we usually see from Bond, and second, Tracy’s criminal father, Draco (Gabriele Ferzetti), offers to help Bond locate Blofeld.

Once Bond has a line on Blofeld’s location, he leaves Tracy and heads off to Switzerland, disguised as a genealogist who is investigating a claim that Blofeld may be a Count. After his arrival, Bond discovers that it is in fact Blofeld, along with his menacing hench-woman (Virginia North), and he is running a institute that supposedly cures women of their allergies. The real plot involves brainwashing these same women to be his own personal death squad. Upon Blofeld’s command, the girls will unleash a sterilization chemical upon the world; unless, of course, he is paid an exuberant amount of money.

As a Bond film in the late 1960′s, “On Her Majesty’s Secret Service” is a disaster. Sean Connery didn’t want to be Bond anymore, and after his relationship with Albert Broccoli had reached an all time low, Connery left. Without knowing what who might be the next Bond, the inexperienced George Lazenby was the choice they made. It is easy to point out Lazenby’s faults in this film. He doesn’t look like Sean Connery. He doesn’t act like Sean Connery. He doesn’t talk like Sean Connery, and possibly worst of all, he doesn’t even try to be Sean Connery. To ask someone to step in and take over a role that had been so incredibly popular over the last eight years is monumentally hard to do.

Before playing James Bond, the sum of Lazenby’s experience was some commercial work. How were they expecting him to fill the enormous shoes of a skilled professional like Connery? All in all, I think Lazenby did rather nicely. For a film debut, he holds his own in both the action and romantic scenes. At one point Lazenby was offered a seven picture deal to be the permanent James Bond, and if he had accepted, I believe he could have grown and adapted himself to this role quite well.

Much of the problem with Lazenby in this film is that the script has taken Bond down a couple of pegs on the ladder, and made him human. Bond is not a superhero in this film. He falls in love, he gets hurt, he makes mistakes, and most importantly, he has become vulnerable and needs the help of others. He is no longer a “super” spy; just a spy. No wonder people had trouble embracing both this film and Lazenby.

The rest of the film has plenty of ups and downs, as well, mostly stemming from the filmmakers’ indecisiveness in their own franchise. “On Her Majesty’s Secret Service” was supposed to be the fourth Bond film, but due to unusual circumstances, both “Thunderball” (1965) and “You Only Live Twice” (1967) were made first. The problem is that it took some continuity out of the series. There are several aspects to this film that would have been better suited earlier in the series. (Perhaps even before 1964′s “Goldfinger”.) Bond, as a character, is shaped and molded throughout this film, giving him more depth and background. He is not as superficial as he has appeared before. His rough and rugged exterior is just a facade, and after watching “On Her Majesty’s Secret Service”, Bond’s overall demeanor and outlook on life is more understandable.

As an action film, “On Her Majesty’s Secret Service” is highly successful. This film has a lot of energy, including the first of many ski chases that Bond will endure throughout his career, a bobsled chase, a massive car chase that goes through a destruction derby course, and of course, the climactic helicopter rescue. The location shooting is handled nicely, and despite what is still the second longest running time in the franchise, the film stays exciting enough to keep the audience’s attention.

Incidentally, Telly Savalas makes a good Bond villain, but not a good Blofeld. We have been seeing bits and pieces of Blofeld through the series, and by making him the main villain and giving him a face, he has become human as well. Blofeld does appear in “You Only Live Twice”, but because it was such a small part (and because Bond doesn’t ever fight him), he still seems unobtainable.

“On Her Majesty’s Secret Service” will always remain a sore spot in the Bond franchise, but it was a necessary step in the right direction. Bond had become stagnate prior to this film, but now there was a clear path to be chosen. Bond was ready to evolve, and even though it wouldn’t happen overnight, clearly steps were taken in the right direction.

Here are the statistic from “On Her Majesty’s Secret Service”, including a running tally from all six films:

• Number of people killed by James Bond: 5- By making Bond more human, our death count has dropped severely. It was quite amazing to behold, really. James doesn’t kill anyone until one hour and thirty seven minutes into the film! He throws two off of a snow covered mountain, and then later, in the film’s climax, he shoots three more henchman. Total kills through first six movies: 80
• Number of times we hear, “Bond, James Bond”: 2- Perhaps it will finally start catching on. Total thus far: 4 1/2
• Number of women who succumb to Bond: 3- Of course we have Contessa Tracy di Vicenzo (Diana Rigg). Then at the institute, within just minutes of each other, Bond rendezvous with two of Blofeld’s patients: Ruby (Angela Scoular) and Nancy (Catherina von Schell). It’s a good thing Bond gets out of the institute when he did, otherwise the girl count might have skyrocketed. Total women: 17
• “On Her Majesty’s Secret Service” theme song: Well, for some reason the decision was made not to have a title song for this film. The movie does still have a love song though; “We Have All the Time in the World”, composed by John Barry, with lyrics by Hal David. In the film it is sung by the great Louis Armstrong (the last song he recorded in his career), and is a wonderful ballad, but it doesn’t really belong in a Bond film. My rating for this song, however, is : ★★★★ The rest of the score music in this film, also composed by Barry, is absolutely wonderful. It might be the best score of all the Bond films.

James Bond will be back (and so will Lasso the Movies), in “Diamonds Are Forever” (1971).

For more James Bond fun, be sure to check out:

“Dr. No” (1962)

“From Russia with Love” (1963)

“Goldfinger” (1964)

“Thunderball” (1965)

“You Only Live Twice” (1967)

 ★★★★

When you hear the name David Lean, comedy probably isn’t the first thought that crosses your mind, but with his 1954 film, “Hobson’s Choice” (1954), that is exactly what you will get. Set in the 1880′s, “Hobson’s Choice” is about an upscale boot shop owner named Hobson (Charles Laughton) and his three daughters, who run the shop for him. His eldest daughter, Maggie (Brenda De Branzie), is actually the one who does the work, while her two younger and more immature sisters, Alice (Daphne Anderson) and Vicky (Prunella Scales), act as her assistants. Hobson, however, seems to spend all of his time at the local pub.

After Hobson berates his daughters for their uselessness, he toys with the idea of getting the younger two married so that they will be out of his hands. He decides that Maggie, at the ripe old age of thirty, is already a spinster and unappealing to a suitor, in addition to her being so to valuable to his business.

Maggie, however, being a strong independent woman, has some plans of her own. One of the bootmakers that is employed in the basement workshop is a skilled and gifted simple minded worker by the name of Will (John Mills). Maggie decides (without giving Will much choice in the matter), that she is going to marry him, and with his boot making skill and her head for business, they can open a rival shop to Hobson.

“Hobson’s Choice” is one of those rarest of comedies that has been made with the skill and craft of a master, but is also extremely lighthearted, making it easy to enjoy- a comedy with intelligence if you will. Lean has captured this remarkable story based on the Harold Brighouse play perfectly, by not trying to do too much with the material. He knew what made the story humorous, and made sure that his film accentuated these same aspects.

Charles Laughton is an inspiration, as the mean-spirited, hard drinking Hobson. His performance looks effortless, even though it isn’t. With his boisterous and rude demeanor, he delivers his quippy lines with a bravado that intensifies the humor of the already great script. The lines roll off his tongue like, “Wages? You think I pay my own daughters wages? I’m not a fool.” It’s not just the dialogue that makes this funny, but also the way he truly means what he says. Hobson is quite possibly the most insensitive, conceited father possible, and yet you can’t help but enjoy him a bit; and that is because of Laughton. Of course the highlight of the film might be watching him pricelessly chase the reflection of the moon from puddle to puddle, on his way to his inevitable downfall.

Since Laughton takes such command of his scenes, it is hard to notice anyone else, but every time he walks out of the frame Brenda De Banzie and John Mills more than pick up the slack. Mills, with his mussed up hair and simple minded comments, is more than easy to love. De Banzie his a powerful dominance that at first seems as if perhaps her character has too much of her father in her, but it doesn’t take long to discover that underneath her chilly exterior she is a romantic at heart.

“Hobson’s Choice” is an inspired film because of its simplicity, but it’s a great film because of the skill with which it was made. Everything from the sets to the editing, and all the way down to Malcolm Arnold’s whimsically delightful score, help enhance the overall splendor that is “Hobson’s Choice”.

“Hobson’s Choice” is currently available for streaming through Hulu Plus and is also available for purchase on DVD through The Criterion Collection. It was a perfect choice for this week’s Hulu Tuesday pick, and is sure to satisfy anyone who gives it a chance.

Cinemark Theaters have released their lineup for the June Classic Series, and wouldn’t you know it, these four movies have a few things in common. All four of these films were immensely popular upon their release, all were nominated for the Academy Award for Best Picture, all four are listed on the American Film Institute’s 100 Greatest American Films and, oh yeah, they are all directed by the great Steven Spielberg! You can visit the Cinemark website for more information on locations and ticket pricing, but I do know that tickets to all four films can be purchased together at the reduced price of $20. Don’t miss your chance to see these classic films on the big screen; the way Steven Spielberg has intended.

On Sunday, June 2nd at 2:00 P.M. and Wednesday, June 5th at both 2:00 and 7:00:

• “Jaws” (1976)

On Sunday, June 9th at 2:00 P.M. and Wednesday, June 12th at both 2:00 and 7:00:

• “Raiders of the Lost Ark” (1981)

On Sunday, June 16th at 2:00 P.M. and Wednesday, June 19th at both 2:00 and 7:00:

• “E.T. The Extra-Terrestrial” (1982)

On Sunday, June 23rd at 2:00 P.M. and Wednesday, June 26th and both 2:00 and 7:00:

• “Schindler’s List” (1993)

 ★★★★★

In Lasso the Movies preparation for writer, director and monster aficionado Guillermo del Toro’s upcoming film, “Pacific Rim,” in theaters July 12th (see trailer at the bottom of the page), I have journeyed back to the beginning of his career and am re-examining each and every one of his directorial films. In our last installment, I covered his rather unsuccessful American debut with “Mimic” (1997). After this debacle, del Toro left the United States and created a Spanish-Mexican film that is a well blended combination of gothic horror and historical drama, in “The Devil’s Backbone” (2001) aka “El espinazo del diablo”.

This stunning and personal film takes place in a remote location in Spain during the Spanish Civil War. Carmen (Marisa Paredes) runs a make shift school and orphanage along with Casares (Federico Luppi). Both of them are with the Republican loyalists, and Carmen has a supply of gold that is used to help supply the Republican cause with weapons. Also at the orphanage is a young teacher, Conchita (Irene Visedo), and the groundskeeper with whom she is involved, Jacinto (Eduardo Noriega). Jacinto has lived here since he was a boy, but for many years now has been trying to steal the gold and run away.

As the film opens, a young boy named Carlos (Fernando Tielve) is brought to the home by loyalist fighters because, unbeknownst to himself, he is now an orphan. His awkward and timid demeanor at first set him apart from the other boys, led by the bullish Jamie (Inigo Garces), but before long the two form a close bond.

Besides the story of Jacinto attempting to steal the gold, there is also a second story taking place. Some of the children have seen a ghost (Junio Valverde) living in the compound. A short time ago, in the middle of the night there was an air attack by Franco’s troops. An enormous bomb was dropped and landed in the courtyard, but never exploded. It has since been defused, but because of it’s enormous size and weight, it still remains embedded in the dirt. That same night, one of the boys disappeared, and many of the other children believe there is a connection between the bomb, the missing boy and the ghost that is now looming about the halls.

“The Devil’s Backbone” is nothing short of spectacular. Somehow, everything falls into place and makes this story not only extremely engaging, but also incredibly artistic. The ghost story alone is compelling, and keeps you on the edge of your seat, but the film is really driven by the children and the drama involved in their desperate plight for survival in their war torn country.

The acting is extremely well done, especially considering the inexperience of the young children that carry this film. Federico Luppi and Marisa Paredes anchor the cast, holding everything in place, both in their school for the children and on the screen for us. Eduardo Noriega makes a spectacular villain, earning not only our hatred, but also the eventual detestation of each and every character in the film.

There are many aspects of “The Devil’s Backbone” that could make someone sit up and pay attention, but after you shift through the riveting story filled with thrills and of course the beautiful direction, there are a few technical aspects that remain with you long after the credits have come and gone. The cinematography by del Toro regular, Guillermo Navarro, is surprisingly soft and inviting for a horror film. And then there is the hauntingly tragic score by Javier Navarrete. But what may be most amazing is the way del Toro has created a ghost story where the audience wants to spend time with the ghost. He doesn’t chase the other children around, and the mystery that surrounds his appearance only heightens our interest and eventual obsession with discovering the truth.

This may have only been Guillermo del Toro’s third directorial film, but because of his attention to detail and bewildering sense of cinematic style, he has already proven his skill in his field. His ability to be patient between films doesn’t hurt either. The difference between “The Devil’s Backbone” and “Mimic” is almost unmeasurable. His growth as a director and his personal attachment to this project make all the difference in the world. Also, in the early 2000′s it had become quite popular to make “ghost stories”, but the one major difference between “The Devil’s Backbone” and everyone else is that del Toro made this film because he loves ghost stories, not because they were popular.

Continue to join Lasso the Movies as we proceed through Guillermo del Toro’s career, in preparation for his upcoming film, “Pacific Rim”, due in theaters July 12th, 2013. Don’t forget to check out the latest trailer for “Pacific Rim” below. Also, for those who are interested, “The Devil’s Backbone” will become available through The Criterion Collection on July 30th, 2013. You can learn more about the film, the bonus features and ordering information through the Criterion site.

“Cronos” (1993)

“Mimic” (1997)

“Blade II” (2002)

“Hellboy” (2004)

“Pan’s Labyrinth” (2006)

“Hellboy II: The Golden Army” (2008)

“Pacific Rim” (2013)

New Releases on blu-ray and DVD for Tuesday, May 21st, 2013

For this weeks edition of New Release Round-Up, Lasso the Movies is showcasing four of the greatest gangster films from the classic era, a pair of films from the 1990′s that couldn’t be more different if they tried, a new edition to The Criterion Collection and a handful of movies that played in theaters sometime in this last year. Oh yeah, we also have a couple of excellent blu-ray box sets to help fill out your personal collections. But enough talk, let’s round up these movies and bring ‘em on home.

• “The Public Enemy” (1931): This quintessential gangster drama chronicles the rise of a young man through the criminal underworld, during the prohibition era in America. Directed by William A. Wellman and starring James Cagney, Jean Harlow and Virginia Mayo, “The Public Enemy” has solidified itself as one of the greatest gangster films of all time, and is a must see for all classic film lovers.
• “Little Caesar” (1931): Edward G. Robinson was propelled to stardom after his iconic role in this Mervyn Leroy classic. It’s another story of the rise (and eventual fall) of another young gangster, but Robinson (and his character of Rico) is so unique that this film feels unlike all the other gangster films of its time. “Little Caesar” also stars Douglas Fairbanks Jr. and Glenda Farrell.
• “The Petrified Forest” (1936): This intense film centers around one fateful night at an almost abandoned diner in the desert. Starring Bette Davis, Leslie Howard and Humphrey Bogart, “The Petrified Forest” is the very definition of crime drama, and boasts three amazing performances from its rising stars. I can’t help but think about how exciting the news of this release must be over at Silver Screenings, and if you need more information on this glorious film you can read their recent post on “The Petrified Forest”, which we all now know is one of their favorite films.
• “White Heat” (1949):“Top of the world, Ma.” Just thinking about James Cagney in ”White Heat” makes we want to drop everything I’m doing and sit down to watch this brilliant film, yet again. Directed by the great Raoul Walsh, this film has become one of the most iconic gangster films ever made, and it still feels just as fresh and entertaining as ever. This film co-stars Virginia Mayo in arguably the best role of her career, and is one of those films that continues to improve over the years.

Warner Brothers has also packaged all four of these classic gangster films together at a significantly reduced price. You can find more information about this pre-order in the Warner Brothers Shop. In conjunction with these historic gangster films from the Warner Brothers collection finally making their way to blu-ray, WB has also put together another gangster film collection featuring more contemporary gangster films. This set includes Martin Scorsese’s “Mean Streets” (1973), Brian De Palma’s “The Untouchables” (1987), Martin Scorsese’s Best Picture nominated “Goodfellas” (1990), Michael Mann’s “Heat” (1995) and another Martin Scorsese film; this time his Best Picture winning “The Departed” (2006). All of these films have been released on blu-ray in the past, but if you don’t have these titles in your collection, this would be a wonderful opportunity to pick them up. You can get more ordering information on this set in the Warner Brothers Shop as well.

• “Stand Up Guys” (2012): Al Pacino, Christopher Walken and Alan Arkin… together. Doesn’t that sound like fun already? After 28 years in prison, Val (Pacino) is released. His long time criminal partner Doc (Walken) is there waiting, and the two spend the night partying and reliving old times. Unfortunately, Doc has been ordered to kill Val before 10:00 the next morning. This film severely underperformed at the box office and with critics, but there have been a select few who praise the film for not following the stereotypes that one might expect. Hopefully this film can find an audience on DVD and blu-ray.
• “Side Effects” (2013): From director Steven Soderbergh, this psychological thriller is about a young woman (Rooney Mara) who is prescribed experimental antidepressants by her psychiatrist (Jude Law). Things go well at first, before the side effects soon destroy both her personal life and the professional career of her doctor. This film also stars Channing Tatum and Catherine Zeta-Jones, and has earned decent reviews from both critics and audiences. It certainly looks like one worth seeing.
• “Medium Cool” (1969): In this week’s addition to The Criterion Collection, Robert Forster stars as a TV cameraman who gets caught in a mysterious and violent plot surrounding the 1968 Democratic Convention. This suspense thriller co-stars Verna Bloom, Peter Bonerz and Marianna Hill, and is written and directed by Haskell Wexler. You can get more information on this release through The Criterion Collection.
• “Parker” (2013): It might seem that Jason Statham just keeps making the same movie again and again, but not this time, because for “Parker” he has a co-star that we have heard of in Jennifer Lopez.  From what I have heard of this film, the plot seems to basically be the same as Statham’s “The Italian Job” (2003), only instead of a whole crew being double-crossed by one member of their team, Statham’s entire team deicides to double-cross him. Now Statham must convince Lopez to help in the re-stealing of his already stolen merchandise. See, doesn’t that sound a little different from all the other films in his career? O.K., maybe not.
• “The Last Stand” (2013): Schwarzenegger is back! Of course I don’t think this is exactly the kind of return he had in mind. The film (and I use the word film extremely loosely here), is about a small town sheriff, of a border town in Arizona. When a drug lord escapes custody in Las Vegas, this small town sheriff is the only thing that separates a major criminal from freedom. If Schwarzenegger needs some help in his fight for justice, it will have to come from his clueless deputies and the local arms dealer (Johnny Knoxville). Honestly I don’t think this film could have achieved worse reviews upon its initial release, and I am willing to bet that it won’t be any better now.
• “Beautiful Creatures” (2013): I’ll try to do the best I can with this one, but I am clearly out of my element here. This film is about a family of “casters” (I think that means witches), who are fighting over whether or not the teenager of the group will become a good witch or a bad witch. Obviously I know very little about this film, but other than the two stars (Alden Ehrenreich & Alice Englert), “Beautiful Creatures” boasts a great supporting cast, including Jeremy Irons, Viola Davis, Emmy Rossum and Emma Thompson.
• “Vegas Vacation” (1997): Chevy Chase is at it again, but this time he’s headed to Las Vegas. Beverly D’Angelo, Ethan Embry, Marisol Nichols, Randy Quaid, Siegfried & Roy, Wayne Newton, and of course, Christie Brinkley are all along for the ride as well, as the Griswold family once again proves that you don’t need intelligence to have a good time.
• “Sommersby” (1993): Who can forget this ridiculously depressing love story starring Richard Gere and Jodie Foster? The film takes place right after the civil war ends, and centers on a married couple, as they grapple with the husband’s return home after several years of fighting. Of course things aren’t exactly the way they seem, as the story takes a few twist and turns on its way to a dramatic (perhaps even overly dramatic) finish. “Sommersby” also stars Bill Bullman and James Earl Jones, and was directed by Jon Amiel.

Well I think we got ‘em all. What are you going to watch this week?

★★★

“People Will Talk” (1951) is not your typical Cary Grant movie. In fact, there is almost nothing typical about this film at all. The plot itself is rather hard to describe, except to say that there are actually two plots, involving the same characters, that are interwoven to create one somewhat secretive story.

Dr. Noah Praetorius (Cary Grant) is a physician in his own clinic, who also teaches at a medical school. He has become famous for his unorthodox treatment methods that include various types of conventional, psychological and holistic medicines. One of his fellow teachers (Hume Cronyn) has brought Noah’s methods into the spotlight, and launched a full blown misconduct suit against Noah. It is not just Noah’s medical background that is under investigation, however, as there are also several unanswered questions about Noah’s loyal friend, Mr. Shunderson (Finlay Currie), who, somewhat mysteriously, is always positioned just a few feet from Noah.

While this is happening, Noah also meets and treats Deborah (Jeanne Crain). He discovers that she is pregnant and the father, as it turns out, was someone that Deborah only knew briefly before he went to war and died. Worried about upsetting her own father (Sidney Blackmer), Deborah attempts to kill herself. Of course, Noah saves the day and the two fall in love.

“People Will Talk” is listed as a comedy/drama, but in truth there are very few things funny about this film. Don’t get me wrong, it tries to be funny, and for a brief moment you can smile as Cary Grant plays with his train set or while he verbally jousts with his friend and colleague (Walter Slezak), but within moments of these events the story reverts back to a serious plot (or two plots, as it were) and the jokes are gone.

All of this is alright, though, because writer/director Joseph L. Mankiewicz isn’t much of a comedic filmmaker. He makes brilliant dramas filled with amazingly engrossing stories and dialogue, interspersed with moments of humor. It’s his meal ticket, and a good one at that. I can appreciate his attempt to branch out, but it just doesn’t work.

What remains today is a film that shows the dangers of witch hunts, particularly on the part of the hunters. Mankiewicz, himself, was unwilling to name names of communist sympathizers in the late 1940′s and early 1950′s. As a result, Noah refuses to discuss Mr. Shunderson, or anything about his past during Noah’s own hearing. Mankiewicz was obviously trying to make a point with “People Will Talk”, and the message comes through loud and clear.

Cary Grant does an exceptional job with this role, despite it being outside his usual character comfort zone. He mixes the comedy and drama better than most would. Even though Grant’s character spends most of the film being mysterious about his past, the audience will naturally gravitate towards him, simply because of how invitingly Grant plays this role.

The rest of the cast is mostly forgettable, as Jeanne Crain seems to overact a bit, and the supporting characters aren’t given much in the way of substance. Walter Slezak and Sidney Blackmer have some great one liners, but they are few and far between, and Finlay Currie can’t do much with the role of the mysterious Shunderson because it would give away details about the character’s past. The best supporting roles are Hume Cronyn, who does nicely with the under developed role of the shifty villain, and Margaret Hamilton, who appears in just the first scene of the film, but is so much fun to watch that I found myself anxiously hoping she would return. (She doesn’t.)

In the end, “People Will Talk” is not a film that will leave a lasting impression upon you, mostly because it tries to be too important. Perhaps if the film took itself more seriously (or even less seriously), the end result would have been better.