A Portrait of Everyone Trying To Decide What To Write About "Dick Tracy" For HMWYBS

Perfect right? Thanks Kathy!

I totally forgot that Kathy Bates was in this movie. And that she's amusingly mystified when asked to transcribe Mumbles confession. Or maybe she's distracted thinking 'Misery comes out in 5½ months and then you'll see what I can do!'

I'm currently mulling over 23 screengrabs for Dick Tracy (1990) trying to choose just 1 for its 25th anniversary. This movie is so good looking, in a super-saturated drunk on the color wheel way. So if you're also struggling or forgot that Best Shot was returning today after hiatus (I know several people did) I'll extend the BEST SHOT deadline to tomorrow night.

But in the meantime cue up Madonna's "I'm Breathless" CD and remember how good those Stephen Sondheim songs are as you check out these entries from blogs that finished in time! (Consider it appetizer and main course and tomorrow night dessert for any latecomers to our weekly Visual Party.)

Coco Hits NY - selects a clever moment of cartoon logic
The Entertainment Junkie - on converging visual elements
Film Actually - loves the film noir long shots
Dancin' Dan - goes understated for a loud movie 
Antagony & Ecstasy - admires the graphic storytelling
Paul Outlaw- wants to reverse Madonna & Beatty's positions in this potent frame 

And don't forget that next Wednesday night June 10th is Amadeus (1984) and there won't be any extension of that deadline because the film leaves Netflix Instant Watch very soon and it's three hours long (but oh so good) so you might want to get a headstart on your selection for that one. Yours truly hasn't seen it since the 80s and is so excited to revisit it.  

Review: Mad Max: Fury Road

Michael C here to review my most anticipated film of the summer. Isn't it wonderful when anticipation and quality go together?

With each passing Summer the concept of the Event Movie gets a little more cheapened, a little more downgraded. Like eyes adjusting to darkness, we see weightless CG blurs collide with other weightless CG blurs and deem it good enough. That is until a film like George Miller’s Mad Max: Fury Road comes along to rip the curtains down and the light flood in. No, that image is not strong enough. Fury Road tears through the multiplex like a great cleansing fire, leaving the great herd of lesser, timid blockbusters scattering to escape its path. 

It may seem an odd declaration to make about a franchise reboot, itself the third sequel in a series dormant since 1985’s Beyond Thunderdome. But Miller proves that any project can attain greatness with the right spirit of reckless ambition. The prevailing mentality is that an established brand is an excuse to play it safe, to scrub a rehash of the original story down to a neutered PG-13 so as not to risk alienating a single ticket buyer on Earth. George Miller goes full tilt in the opposite direction, embracing the franchise’ twisted id...

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Podcast: Max & Furiosa On The Road

Nathaniel welcomes back Anne Marie and regular Nick Davis and new guest Kyle Stevens to discuss George Miller's critically drooled over action masterwork Mad Max Fury Road. Though is it really as good as they say? We look deep at that misdirection of a prologue, the hallucinatory visuals, and the central conceit vs the female characterizations. We even talk Oscars a little bit. There are a few spoilers so it's best to see the film before listening if you care about such thing.

Please to enjoy and continue the conversation in the comments. You can listen at the bottom of this post or download from iTunes.  

Companion Links: 
Michael's Fury Road review
Tina Turner's "We Don't Need Another Hero"
Kyle's Twitter Account - Follow him. He's fun!

Fury Roadcast

1979: Revisiting The Black Stallion

In honor of the Year of the Month (1979) and horse racing’s most exciting month – with the second leg of the Triple Crown, the Preakness, being run today – Lynn Lee revisits a childhood favorite movie, The Black Stallion.

As a little girl, I didn’t ride horses but I loved reading about them, from Black Beauty to Misty of Chincoteague to just about every book in the Black Stallion series.  Naturally I loved the Black Stallion movie and watched it multiple times in my pre-teen years.  I recently decided to watch it again and see how I felt about it over two decades later.  Here are the five things that struck me most strongly this time around:

1. How quiet the film is.
There’s barely any dialogue.  That makes sense for the first half, most of which takes place on a desert island where the two shipwrecked protagonists, the boy Alec and the Black Stallion, slowly earn each other’s trust.  But even after they’re rescued and return to society and enter a big honking horse race, the quiet remains.  Most of the human characters have only a handful of lines... [More]

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Best Shot Special: The Orson Welles Centennial !

HMWYBS: Mid Season Finale 

Orson Welles  burst on to the cinematic scene in 1941 with Citizen Kane, which has led numerous film polls across the decades as the 'Best Film Ever Made'. (Kane's nearest rivals for the title in frequent pollings here and there seem to be Vertigo and The Godfather) It famously lost all but one of its Oscar nominations (Orson Welles and Herman J. Mankiewicz his co-writer took the Original Screenplay prize, Welles' only competitive Oscar) but genius is rarely fully appreciated in its time. Incredibly, the writer/director/actor was only 26 at the time but he was no one hit wonder adding several more classics to his filmography before his death at 70 years of age in 1985. For today's Hit Me With Your Best Shot episode, our midseason finale (the series returns on June 3rd), I asked participants to choose between Citizen Kane (1941), The Magnificent Ambersons (1942, my personal favorite of his), and The Lady From Shanghai (1948) depending on what they felt like watching.

Gawk at beautiful screengrabs from those movies from 10 Best Shot participants. Click on any of them to be taken to the corresponding article singing that shot's praises...

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