iizthatiiz Reviews

Doctor Strange in the Multiverse of Madness (2022)

We're not in Kansas, and no one cares.

[5/10 · 19 November 2022]

This Doctor Strange sequel is the latest exercise in Marvel's phase IV effort to bore me to tears. In the film, we find several iterations of Stephen Strange, each from a parallel universe, and each Strange is more tedious than the last.

The entire film revolves around a pointless character named America Chavez, who apparently is gifted with unexplained powers that allow her to travel thru Marvel's insidious effort to market a "multiverse" to audiences.

She is a Dorothy Gale type character, cut straight out of the Wizard of Oz, able to travel inexplicably in times of stress from one parallel world to another. For whatever reason, Marvel neglected to provide much background or insight into the character of America Chavez, leaving audiences very uninterested in her fate. She is more a plot device that enables these shifts to parallel worlds, than an actual character. We really couldn't care less about what happens to her, and unfortunately her fate is the entire point of this pointless film.

Elizabeth Olsen as 'Avenger' Wanda Maximoff is now the villain in the aftermath of WandaVision, seeking to obtain Ms. Chavez's power to travel the multiverse. The continued descent of the Scarlet Witch in this film only adds to viewer's misery. By the end, we are left without a hero.

The effects and CGI are interesting at times, with the distinct exception of the unsettling plastic LEGO hair placed atop the head of Benedict Cumberbatch.

The film climaxes with America Chavez arriving at her Dorothy Gale moment, figuratively clicking her heels three times and proclaiming, "I think I can, I think I can", setting all aright. Sorry Ms. Chavez, but we're not in Kansas, and no one cares.

Chino (1973)

A Tale of the Lone Rancher

[7/10 · 18 August 2022]

Chino (1973) Charles Bronson as half-breed horse rancher Chino Valdez. Based on the novel, "The Valdez Horses", Chino was billed as an action western, but is much more a character study of a lone rancher in the end days of the old west as land barons encroached upon their way of life.

Valdez befriends a young teen drifter (Vincent Van Patten), whose circumstances are never explained, teaching him his way of life. Bronson's wife Jill Ireland is the unlikely love interest, their budding romance drives the storyline.

Filmed in Spain, this is hardly a spaghetti western, with high production values. Partially directed with longtime Bronson collaborator, John Sturges (his final western), Chino has few action sequences. Two fistfights and one gun battle. His valley ranch is beautifully photographed, as well as the surrounding landscapes. The herd of horses shimmer onscreen.

Some may find the ending unsatisfying, but it concludes the only way it can. A lone rancher is no match for the changing west.

The Neptune Factor (1973)

Colorful Undersea Adventure

[7/10 · 22 October 2021]

Hadn't seen this film in the nearly 50 years since its theatrical release, where I first saw it on Main Street in downtown Northport with my Uncle Jack. The film made an impression on me, a colorful undersea adventure.

The Neptune Factor was a by-product of action/disaster films such as "Airport" and "The Poseidon Adventure", though it was much more a procedural accounting of events, rather than a character driven film.

The premise was that an undersea earthquake has propelled a sea lab over the precipice into a deep underwater trench. An experimental sub (The Neptune), is deployed to search for possible survivors.

The film is well-cast, with serviceable film veterans Ben Gazzara, Ernest Borgnine, Walter Pidgeon, and Yvette Mimieux.

Neptune Factor is memorable for its attention to the science-based details of deep sea exploration, as well as some pretty darn terrific underwater photography. Even the sometime use of vehicle miniatures and over-enlarged tropical fish is impressive considering the era in which this film was produced.

I thoroughly enjoyed the re-watch, and look forward to the opportunity of viewing 'The Neptune Factor' again in another 50 years.

Moonfleet (1955)

A most satisfying tale of a young lad whose trusting nature serves him well.

[9/10 · 8 December 2020]

Moonfleet (1955) starring Stewart Granger, Directed by Fritz Lang

Very enjoyable, fast-paced adventurous swashbuckler set toward the end of the 18th century on the English coast.

A young orphaned boy follows his mother's dying wish to return to her birthplace, there to be entrusted to a former beau. But her former love is not the "gentleman" she remembers, rather now a roguish smuggler engulfed in criminality. The charm of this picture is the young, good natured lad, choosing to believe that this criminal is his friend .. why else would his mother send him. Stewart Granger has the lead as the smuggler Jeremy Fox .. who wants little part of the boy, but still feels a sense of obligation. This is the best role I've seen thus far from Granger. A rogue still airing the pretenses of a gentleman.

There are wonderful scenes aplenty. From the dark frightening places of a a smugglers haven, splendid swordplay against a long-handled halberd, and even the infiltration of a stronghold to steal a precious diamond.

Be sure to catch it in widescreen CinemaScope. Directed by Fritz Lang at the end of his career. It is a taut adventure, a most satisfying tale of a young boy whose trusting nature serves him well.

Spider-Man: Far from Home (2019)

Spider-Man: Far away from Spider-Man

[6/10 · 18 September 2019]

"Spider-Man: Far From Home" is a somewhat competent addition to the MCU, though with lots and lots of problems. Way too much homage was paid to the irritable Robert Downey Jr's Iron Man. I was pleased to see Jon Favreau's Happy Hogan play a prominent role. After all, Favreau as director of Iron Man 1 was a key constructor of the MCU, and Happy Hogan, an underutilized character within the franchise.

In this current ASM iteration, Marisa Tomei remains 40 years way too young as Aunt May, and Uncle Ben remains non-existent as the crucial factor who propelled Peter Parker into becoming Spider-Man. After four appearances in the MCU, I still cannot buy into this revisionist version of the Amazing Spider-Man. Whatever the original Sony trilogy of Spider-Man films got wrong, they did get the Stan Lee/Steve Ditko beginnings of the character very right, in ways that the MCU has completely failed.

In the MCU, everything we see about Peter Parker is just wrong. His relationship to Aunt May and Uncle Ben is wrong, Mary Jane Watson is wrong. Flash Thompson is wrong. J. Jonah Jameson is wrong. Where is Gwen Stacy? Everything about the origins of this character is just effing wrong. In the MCU, Peter Parker/Spider-Man is the creation of Tony Stark's Iron Man, and THAT is a complete betrayal of the character.

Moving on to the events of the film, the introduction and reveal of Mysterio is well played. Despite all the errors within the MCU of the Peter Parker/Spider-Man character, we still get a satisfying film. The action sequences, the CGI are competent. The storyline progresses within the film logically, aside from an end credit scene that blows the entire film into disarray.

All that is missing from this feature is the characters as originally developed by Stan Lee and Steve Ditko. They are nowhere to be found.

Wildfire (2005–2008)

A girl and a horse. What more could you want?

[13 August 2019]

Rural setting? Family values? A girl and a horse? I am all in!

'Wildfire' ran for four seasons on the ABC Family network. Ostentatiously geared towards the teen angst audience, 'Wildfire' nonetheless has much more to offer. Insights into the world of competitive horse racing, and those who inhabit that world. There is more than enough here to hurdle viewers through the entire series. Gorgeous scenery. Magnificent horses. Strong values. And a competent cast.

Genevieve Cortese is the series lead. A tough city girl from the wrong side of the tracks, imprisoned for fairly minor crimes working toward her release as a prison laborer training horses for the city police force. It is there that she makes a connection with 'Wildfire', a horse in training for police civic duties. These first few episodes set a strong tone for the series, as the convict girl and the horse make a transcendent connection that will propel them both into a world far beyond what anyone could have imagined.

Cast wise, Nana Visitor provides a familiar face (she of Star Trek DS9 fame). But the acting accolades belong to Greg Serano as the horse trainer who sees something in Kris Furillo (the convict girl) and sponsors her into the world of horse racing. Nicole Tubiola is the the rich girl who was reared in that competitive world. Both of their performances throughout the series provide the foundation for all of the drama that ensues.

'Wildfire' is well worth the watch, assuming you can overlook the perpetually silly teenage drama employed by show runners seeking to ensnare those young demographics that network execs demand. Somehow, the show manages to exceed those network expectations, and delivers a satisfying family drama that will hold your interest throughout the run of the series.

Chasing the Moon (2019)

The history of spaceflight will unfold before your eyes.

[10/10 · 12 July 2019]

"Chasing the Moon" comprehensively covers the history of spaceflight from the closing days of WWII through the Apollo program in a way you've never seen before. It brilliantly blends five narratives. The recollections of the astronauts themselves, insights from NASA administrators and engineers, extensive broadcast TV clips and rare NASA footage, an appreciation of the Russian space program, and the politics that empowered these human and technological achievements. Viewers are transported through the era in a way that allows you to feel that you are there, watching it all unfold live before your eyes.

The six hour film is presented in three parts, so there is a bit of a commitment involved, but you will see oodles of rare newsreel footage that even a space junkie like me has never seen before in a documentary of this type (and I've seen 'em all). Despite its length, "Chasing the Moon" is riveting. Broadcast over PBS on three consecutive nights earlier this month, the film is currently available for viewing on the PBS website, or through the PBS app. Ten out of ten stars.

Salvation (2017–2018)

Season 2 review (minor spoilers)

[6/10 · 13 October 2018]

So okay. Just finished streaming thru Season 2 of 'Salvation'. The tale of an asteroids impending collusion with planet Earth.

After viewers were captured by the intriguing story-line of the first season, the entire second season imploded. All of the characters introduced in the first season inexplicably self-destructed. No character remained with whom the audience could root for, nor be sympathetic toward. Each and every character leapt down a contemptuous, wayward path.

For those familiar, series lead Darius Tanz is worse than ever as an arrogant, narcissistic genius, ever increasingly becoming a wild-eyed loon that no competent person could place an ounce of trust in. The idealistic youngling Liam (whom show runners initially presented as the hope of humanity), is reduced to a brainwashed puppet, easily and willingly manipulated by terrorists. Grace Barrows (Jennifer Finnigan, who was so excellent in 'Tyrant'), becomes a wavering, emotional idiot, clogging up the works, consistently making the worst choices. Liam's love interest Jillian falls off the deep end, an accommodating tool suddenly falling into the clutches of a cult. It's all just an unbelievable hot mess of characters and story.

There isn't a protagonist in this sophomore season able to make a rationale, coherent decision (with the exception of Defense Secretary Harris Edwards, who spent the premiere season as the guy who couldn't/shouldn't be trusted). Harris is unexpectedly this seasons only voice of reason. The only character evaluating the ever tortuous plot-lines in a realistic manner.

With all that being said, the season ends on a completely unforeseen plot twist that will leave viewers who endured this awful second season, most eagerly awaiting the third season premiere. Not even an impending asteroid collusion could have seen that one coming.

Star Wars: Episode VIII - The Last Jedi (2017)

A long time ago in a galaxy far, far away, nothing of interest is happening.

[4/10 · 27 December 2017]

It's not a good sign when you spend the last 1/2 of a Star Wars movie constantly trying to rationalize a reason not to walk out of the theater. You say to yourself, "This is Star Wars, it has to get better soon." But, it just gets worse and worse.

'The Last Jedi' may be the last Star Wars film for me. I don't know if I am willing to suffer through such a disappointment again. A painful, plot-less mess that meanders from scene to scene in a fruitless search for a story or characters that viewers might care about. A story so bad that they actually devoted 1/2 of the film on the ridiculous notion that the bad guys are chasing the good guys, waiting for them to run out of gas so they can destroy their fleet of ships.

A side plot has John Boyega's character Finn, race off to find the one guy in the galaxy (convenient) that can save the Rebel fleet. The whole excursion turns out to be for naught, and the only possible reason the filmmakers inserted this diversion into the film was to give John Boyega something to do ... that, and to arrange unnecessary appearances for Maz Kanata and Captain Phasma. Their inclusion didn't add an ounce to this pictures razor thin story line. They were only included in a sad attempt to appease fans of those characters, and to sell a few more toys to the kiddies.

The one thing we learned from this film is that the Resistance (and the franchise) would have been in much better shape had they never, ever bothered to look for Luke Skywalker in the first place. Filmmakers milked Luke's return in 'Force Awakens'. The big payoff was 4 seconds of screen time. In 'Last Jedi', we learn that he's become a useless has-been. There was no reason, or need for Luke Skywalker to appear in either of these films. Same with Carrie Fisher. In her final screen performance she proves once again that she can't act her way out of a photo booth. I actually fist-pumped when I thought we were seeing Leia Organa's on-screen death, but sadly, she wriggled her way out of the characters demise. It was a huge mistake to build this trilogy around guest stars. Luke, Leia, and Han were better left in the past, where their legacies could have remained unsullied, and we might have gotten a new trilogy based upon new characters with their own motivations and stories.

'The Last Jedi' is a long sequence of scenes, that individually might have looked good on paper, but when strung together do not a story make. It is a film of visual sound bites, completely lacking a compelling narrative. A long time ago in a galaxy far, far away, nothing of interest is happening.

Sherlock (2010–2017)

"Sherlock" exceeds the genre's expectations

[7/10 · 31 March 2014]

I normally don't view "who dun it's" very often, as they tend to be either obvious, or ridiculous. Sherlock is neither, 'tho there is an abundant placement of foreshadowing that leads viewers toward the conclusion. It's well done in the sense that you arrive at a result simultaneously with the "World's Greatest Detective".

(very mild possible plot spoilers ahead)

Had no preconception's whatsoever on this anthology series. First surprise was to find that "Sherlock" is set in the current era. Took a few moments for me to realize that I was viewing the proper show, but I settled into the story-line quickly once I understood that this was a modern interpretation. This 'Sherlock' is arrogant without a trace of the geniality of Basil Rathbone's characterization. Your warmth for the character does not grow easily. Am completely unfamiliar with Cumberbatch's prior output, other than a featured role in the last Star Trek film, so there was no performance expectation. He completely inhabit's the writer's take on the character and you never doubt his braggadocio. I did have a few minor qualms with scenes where he display's physicality, as Benedict is built much like a tall paper-clip, not someone I would trust in a fight.

Oddly, the much smaller-framed Martin Freeman (Dr. John Watson) does come across as a go-to guy when your in a scrape. And in two of the first three episodes, Dr. Watson is clearly the savior. Despite Sherlock's cleverness, it is Watson who saves the day. It is the same resourcefulness his 'Bilbo Baggins' displays. Perhaps it is a quality inherent in the nature of the actor.

The supporting police characters (queue the obligatory upward framed shot of the 'New Scotland Yard' sign), are surprisingly dismissive toward the effort's of their 'consulting detective', though this attitude seems to be evolving. Sherlock's success rate demands further respect on their part. I've never understood how anyone ever get's arrested in Britain, with their unarmed constable's. It was refreshing to see a bit of gun-play in this series.

Each episode contained a plot device or two that elicited more than a mild groan (I tend to be critical in this area). It simply wasn't believable, yet was easy enough to overlook as the story relentlessly propelled you forward. The scripts are full of wit and charm that makes that particular task so much easier than standard potboilers.

I anticipate Sherlock's redemptive traits being drawn forth, as there is a coroner I believe will wrest out Sherlock's humanity as the series progresses. You find yourself searching for ways to "like" this character. The same dilemma that Dr. Watson continuously faces.

Am eagerly looking forward to season two, and that is something I cannot say about most episodic television. It's rare for me to get past the initial viewing. That makes "Sherlock" a major success in my book.

Non-Stop (2014)

Another lesson for the American people from our Hollywood friends

[1/10 · 2 March 2014]

*** This review may contain SPOILERS ***

⇓ ⇓ ⇓ ⇓ ⇓

If you are a 'hate America first' type of person, then this is the film for you. At it's root, the film is yet another attempt to implant the mantra of progressive elitists into the brain pan of the audience. It is a celluloid rant favoring false Hollywood ideals.

As far as production values, the film is decently acted, fairly well crafted, with a story line that will initially engage you(that's how they suck you in). First, they get you involved into the story and characters. When they've got you caring and focused on the people and the surrounding events, that is when they start to slip in the messaging, hoping that it will subliminally slip under your cognitive radar. This familiar Hollywood tactic goes terribly wrong this time. Elements are introduced that will at first puzzle the audience, then annoy them. By the final act, you may begin to feel genuine anger toward the filmmakers for their no-so-subtle anti-American digs.

Charlton Heston famously said that "Political correctness is tyranny with manners". You may rest assured that 'Non-Stop' is a movie chock-full of that form of tyranny. By the end of it's 100 minute run time, you will have been told how you should feel about a great many things. Things that have nothing to do with an action film. The 'action' is just a thin coat of icing over a multi-layered cake of Hollywood's political self-righteousness. If that is the type meal you commonly enjoy, then by all means, shell out your twelve bucks and go and get your fill.

Will Penny (1967)

"This here's the line rider's shack"

[9/10 · 7 August 2013]

"This here's the line rider's shack"

Set at the turn of the 20th century, "Will Penny" unveils the ways of survival that settled the unconquered lands east of the continental divide. Charlton Heston portrays Will Penny, a man on the cusp of the lines that ride between two worlds. Born into one way of life, glimpsing the possibilities of ways closed and unknown.

Flat at the box office upon debut, 1968's "Will Penny" had the calamitous misfortune of premiering exactly seven days after the release of Heston's simian blockbuster 'Planet Of The Apes', pitting the films only major star against himself.

Substituting for the eastern edge of the Rocky Mountains is the Sierra Nevada of Inyo County, California. Sweeping plains set against a backdrop of nearly impassable peaks symbolize the cultural divides found within.

The performances of the actors more than satisfy a marvelous script that creates the characters inhabiting "Will Penny". No one seems out of place within this landscape. Joan Hackett's dignified portrayal of a compassionate woman wearing a protective shield is a comforting touchstone to the viewer exploring the alien lifestyle of those dwelling in this wilderness. Anthony Zerbe's acceptance of fates ways. Charlton Heston's almost stoic belief in the matter-of-fact truths of his life is considered by many to be his finest role. Even a stunted, preaching rawhider and his lawless inbred brood isolated in the wild, somehow jarringly fit into this place and this time. A direct contrast to the roots of a civil society encroaching upon that wild. This is a jigsaw world built of unfamiliar characters with motivations we slowly learn to understand.

Although leisurely paced, your attentions never wander, as your senses absorb these people and their ways of life. Depicted is layer within layer of a genuine reality. A chipped whiskey glass at a desolate trading post. Indigenous garments and artifacts populate every frame, as if weaved out of the surrounding lands. The thoughts and actions of those who abide here, draw viewers into a world of the past, showing a human condition scarcely recognizable today .. yet still remaining close and familiar to the yearnings and regrets that have always haunted the hearts of men and women. This is the grace, and the unavoidable realities found within "Will Penny", both the film .. and the man.

Bandolero! (1968)

A film worthy of it's exclamation point !!

[7/10 · 20 July 2013]

"You robbed a bank? .. You? .. Mace?"

"Well, Dee, the bank was there ... and I was there ... and there wasn't very much of anybody else there ... and it just seemed like the thing to do."

As the opening credits roll after a brief prologue, many viewers will immediately recognize the iconic whistling theme music of 1968's Bandolero! So begins this tale of two brothers who have drifted separately into the old west after the last days of the civil war. At it's heart, Bandolero is a story of needlessly losing one's way, yet still managing to find a measure of redemption.

Jimmy Stewart and Dean Martin star as Dee and Mace, the Bishop brothers, in their only big screen team-up. Stewart is a pleasure to watch as he absolutely owns a script very well-suited to his particular charms. Raquel Welch continues to break her Hollywood sex kitten image in a early dramatic role, beginning a string of western film vehicles (100 Rifles, Hannie Caulder). George Kennedy portrays July Johnson, a 'decent' sheriff in pursuit of more than just the outlaws. Larry McMurtry paid homage to this character in Lonesome Dove, giving his lawman the same name. Anyone who has viewed both films will note that the July Johnson of these films share much more than a common name. Both are very similar in persona and motivation. Dean Martin as usual, easily slips into his rawhide. The supporting cast includes many of the usual suspects you would expect to find in a Texas border town. Will Geer, Denver Pyle, John Mitchum, Harry Carey, and Dub Taylor all appear.

Bandolero was filmed in the last heydays of western movie making, as Hollywood genre films began their shift from the wild west into the deep reaches of outer space. And that's a shame, as this film will still be remembered long after many a space opera have crumbled into celluloid dust. With inspirational outdoor cinematography, and featuring the incredible Alamo Village set (built for 1960's The Alamo), Bandolero! is a film deserved of it's exclamation point.

X-Men: The Last Stand (2006)

X-Men - The Last Stand (utter trash)

[3/10 · 4 October 2006]

*** Contains spoilers *** ( tho' it would be impossible to spoil this film further)

What a disjointed effort!

X-Men fans will recognize glimpses of the franchise, and then their jaws will drop in horror at this pitiful film.

Nothing, and I mean nothing is true to the decades of X-Men story lines. Yes, every so often, you will see a brief glimpse of the X-Men, as if you were viewing one panel of the comic, but that moment of brief recognition disappears before your eyes as the director and writers distort the image into something alien and foreign to the X-Men series.

Absolutely nothing in this film makes sense. Nothing falls neatly into decades of X-Men mythos. It is all one great incongruity that has no place in the X-Men universe. "This" Dark Phoenix arc has absolutely no foothold within the comic lore. Characters appear and die, without any relation to what any fan of the franchise will expect. No one fond of the X-Men will find anything to appreciate here.

Save yourself the heartache of viewing this film.