I wanted to fall in love with “Sweet Charity” very badly. Every time it turns up on television, I patiently sit through it hoping that this will be the time when the film will seduce me and fill me with adoration. But every time, I leave unhappy that I could not give my heart to the film – I desperately want to embrace the film, but it always winds up clobbering me with its cumbersome production.
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“Magical Mystery Tour” could arguably be considered as both The Beatles’ worst and best film.
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BOOTLEG FILES 886: “The Wonderful Land of Oz” (1969 kiddie matinee feature).
LAST SEEN: On YouTube.
AMERICAN HOME VIDEO: On public domain-friendly platforms.
REASON FOR BOOTLEG STATUS: A lapsed copyright.
CHANCES OF SEEING A COMMERCIAL DVD RELEASE: This is just what The Criterion Collection needs!
On this particular day – November 22, 2024, to be precise – most moviegoers are fixated on the release of the big-budget musical “Wicked.” But since I prefer the rat-a-tat-tat from a different drum, I am venturing to a lower rent corner of the Yellow Brick Road to celebrate the no-budget 1969 feature “The Wonderful Land of Oz.”
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Although not as good or edgy as Ralph Bakshi’s more adult interpretations of the “Lord of the Rings” novels, Rankin Bass’s “The Hobbit” is a very good animated movie that gets about as dark and edgy as possible. The movie is a nice and swiftly paced seventy seven minutes, allowing for this single adventure to go from point A to point B without ever missing a step. Unlike the bloated trilogy we saw from Peter Jackson, “The Hobbit” gets the job done significantly better, even if the pacing is particularly rushed.
This 1932 short film from Paramount was designed to highlight the musical comedy talents of Anna Chang and Joe Wong, vaudeville performers in search of a movie niche. Instead, the film unexpectedly launched the career of an unbilled actor who stole the show from the two stars.
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The best way to approach Robert Rodriguez’s series of action films are as more avante garde independent films. They’re much more obsessed with the mysticism and the lore of the mariachi than pursuing traditional action films. In the process he loses himself in a trio of imperfect often incoherent action films that, while fun, are hard to follow. “El Marciahi” for instance cost Rodriguez everything to make where he couldn’t even afford to film two takes for a lot of his shots. In spite of the troubles, the film made him an indie legend, inspiring many to go their own gold. “Desperado” is the partial remake and sequel now following Antonio Banderas as El Mariachi. The vengeful and vicious music player travels across Mexico with the aide of a gorgeous local nurse—played by then unknown Salma Hayek–as he sets out to put and end to their reign.
Fantasia Retro 2024
Animation buffs might end up appreciating and loving this oddity by Canadian filmmaker and animator Gerald Potterton based mainly on how it was conceived. On its own, “Tiki Tiki” is a gigantic mess of a movie that tries to fit a square peg in to a circle hole. At seventy minutes, Potterton’s film is packed with about forty minutes of filler. Most of the filler is comprised of random scenes of people dressed as monkeys, and nigh endless musical numbers. And what kind of musical numbers per se? It’s mostly funk and soul music, which when viewed in context, is absolutely awkward.
Most times Potterton almost seems to forget that this is kind of an animated movie pitting his characters as back drops for an incredibly dull story about pirates and Monchhichis.