Sorcerer (1977)

The Wages of Fear (1953) became one of my favorite movies when I watched, tho I might think differently upon a rewatch. When I learned that William Friedkin directed a remake right after The French Connection and The Exorcist, I was caught between "That sounds excellent" and "Can it possibly satisfy me after the original?" Further reading tells me it was a sleeper hit, partly because it had the misfortune to debut at the same time as Star Wars, but early critics were also unkind to it. Which way would I go?

TWoF has a rather simple plot: Four financially desperate foreign men take a job transporting two trucks of poorly preserved nitroglycerin hundreds of miles across South American wilderness to put out an oil company's fire. The most immediately obvious change Sorcerer makes to the story is in the details of the four men, all of them now criminal but previously unacquainted, having come to Colombia to hide: Jackie (Roy Scheider), an Irish-American mobster; Victor (Bruno Cremer), a fraudulent French banker; Nilo (Rabal), a Mexican hit man; and Kassem (Amidou), a Palestinian terrorist. Guess that's one way to ensure we don't feel too sorry for them if they don't make it.

Guillermo del Toro's Pinocchio (2022)

Yes, it was necessary to provide the director's name in the title. This same year saw a mostly live-action Disney remake. There's also Pinocchio: A True Story, which is officially dated 2021 but keeps getting counted with the others. Since del Toro's version is easily the most popular, I invited a friend to watch it with me.

The first distinctive thing about this retelling of the Carlo Collodi story is that it's set in World War II, with a brief appearance by Benito Mussolini (Tom Kenny, who also voiced Gepetto in P:ATS). Here, carpenter Gepetto (David Bradley) drunkenly creates a rather crude, asymmetrical pinewood puppet to replace his war casualty son, Carlo (Gregory Mann, whose voice had to be digitally altered as it changed during production). The fervency of Gepetto's desire persuades a wood sprite (Tilda Swinton) to infuse life in the puppet. Gepetto is initially scared and then frustrated that Pinocchio is nowhere near as ruly or considerate as Carlo (despite the same voice), but his care for Pinocchio is clear when cold-hearted men, namely Count Volpe the ringmaster (Christoph Waltz) and a fascist official (Ron Perlman), want to employ the puppet's unique advantages.

The Italian Job (1969)

When I selected this to follow a comedy, I had forgotten that it was another comedy. I must have known at one time, because I recognize the most famous (and IMO most overrated) moment from a YouTube excerpt. Only after a lot of humor had trickled in did I realize what I was in for. Kinda wish I'd do that more often, because humor is often funnier to me when I'm not primed for it.

Newly freed small-time Cockney crook Charlie (Michael Caine) learns that the Sicilian Mafia just offed his partner in crime (Rossano Brazzi), but that needn't stop him from carrying out the scheme the Mafia opposed. Eventually, he persuades still-imprisoned kingpin Mr. Bridger (Noël Coward, who had one foot in the grave) to lend his financial resources for a heist involving about as many people as Danny Ocean's. They are to engineer an enormous Turin traffic jam, take $4 million in gold from a scheduled convoy, and outmaneuver the police with multiple vehicles. Of course, the police aren't the only threat....

The Lego Batman Movie (2017)

I didn't get much out of The Lego Movie, and the surprisingly prominent Batman therein was not the highlight to my mind. This spinoff didn't promise as much focus on the Lego aspect, so I figured it wouldn't even be comparably creative. Nevertheless, a critic made it sound pretty heartwarming, so I didn't write it off altogether. Besides, after all the dark Batman flicks I've seen, I thought I'd try a popular example of the other extreme.

In a moment of distraction, Bruce Wayne (Will Arnett) agrees to adopt ambiguous-aged Dick Grayson (Michael Cera). Wayne butler Alfred Pennyworth (Ralph Fiennes) refuses to send Dick away and even lets him into the Batcave, without letting him know that Batman is Bruce. Batman reluctantly acknowledges that he'll need a little assistance to thwart the latest threat to Gotham City, yet he underestimates how much he could use not just a sidekick but family, especially when the curiously fangy Joker (Zach Galifianakis), with help from henchwoman Harley Quinn (Jenny Slate), assembles an army straight out of the Phantom Zone, an interdimensional prison for extra dangerous supervillains.

Reign Over Me (2007)

Another up-for-grabs DVD that I hadn't been planning to see. I almost passed over it, but then I checked its IMDB rating and looked at the back cover. It occurred to me that I had never seen a whole serious film featuring Adam Sandler, and this was one of his more popular ones. And hey, the price was right, no wait time or anything.

New York dentist Alan Johnson (Don Cheadle) happens upon his former school roommate and friend, Charlie Fineman (Sandler), who doesn't appear to remember him. Alan already knows that Charlie's wife and kids died in the 9/11 attacks, but he's had no idea how poorly Charlie has coped for the last five years. We're not talking The Fisher King-level psychotic, just eccentric, irresponsible, unsociable, and brittle enough to worry his parents-in-law (Robert Klein and Melinda Dillon), yet he refuses all therapy. Fortunately, he soon welcomes Alan's company, and the feeling is largely mutual. Slowly, they inspire each other toward probably healthier behavior.

The Iceman Cometh (1973)

At 239 minutes, spread across two discs each with an intermission, this is probably the longest movie I've ever seen. (Don't you believe any list that claims Gone with the Wind is longest.) Add in the basis on a nonmusical play for adults, which usually means mostly talking in a single room, and you know you're gonna need patience. The fame of the title, the unlikelihood of me reading or watching the play, and the desire to challenge myself gave me the courage to sit through it across two nights.

In 1912 New York, the ironically named Harry Hope (Fredric March in his final role) owns a seedy bar/boarding house whose regular patrons/residents are a miserable bunch I wouldn't care to meet. Apparently the first out-of-the-ordinary event on screen is the arrival of a new guy (young Jeff Bridges), who's run into trouble and wants help from a former comrade in the anarchist movement with a death wish, Larry Slade (Robert Ryan, who did die before the film's release). Regardless, bartender Rocky Pioggi (Tom Pedi) and the other patrons look forward to Harry's 60th birthday party that evening, not least for the semiannual visit of their pal Theodore "Hickey" Hickman (Lee Marvin), whose past purportedly funny story about his wife's infidelity with an iceman partly explains the title. But Hickey's not the same man when he arrives. He'll still buy everyone drinks, yet he doesn't feel a need for any himself. He says he's found peace and wants everyone to do the same, by giving up their pipe dreams.

The Fabelmans (2022)

My first theater outing with my parents in 16 months had to be planned pretty far in advance. What could interest them this much without relevance to music? Why, my namesake, Steven Spielberg. And this is not just popular but loosely autobiographical.

In the early '50s, roughly seven-year-old Sam Fabelman (Mateo Zoryon Francis-DeFord, later Gabriel LaBelle) nervously goes to a movie theater for the first time. The depiction of a train crash stuns him, and his coping mechanism is to replicate it with model trains. His mother, Mitzi (Michelle Williams), asks him to video-record the crash so he can watch repeatedly without further damages. Moviemaking, with help from his three younger sisters and fellow Boy Scouts, becomes his passion over the years, thanks to a sense of control. But as the title implies, this isn't just his story, and conflicts with his mom and dad, Burt (Paul Dano), threaten his trajectory.

Les Demoiselles de Rochefort/The Young Girls of Rochefort (1967)

For foreign-language musicals on screen, mostly Indian movies come to mind. The only exceptions I could think of were Nosotros los pobres and The Umbrellas of Cherbourg, both of them serious and the latter possibly qualifying as an opera with its nonstop singing. By contrast, TYGoR is more of a Gene Kelly-type vehicle; indeed, Kelly gets a supporting role as visiting composer Andy. And yes, most of his lines are in French.

The official English title is misleading in that the leads, sisters Delphine (Catherine Deneuve, also in TUoC) and Solange (Françoise Dorléac), are old enough to work as teachers. Delphine is on the verge of dumping her obnoxious gallery-owning boyfriend (Jacques Riberolles), and both sisters hope to find romance and move from Rochefort to Paris to pursue musical success. As it happens, showmen Étienne (George Chakiris) and Bill (Grover Dale) could use help with a town fair stage act. But they're not the true love interests. Solange will literally bump into hers (Kelly), and Delphine will keep missing Maxence (Jacques Perrin), the sailor and artist who already has a crush on her. Meanwhile, their café-owning mother (Danielle Darrieux) is thinking she broke up with the unfortunately named music shop owner Simon Dame (Michel Piccoli) too rashly.

For intro paragraph brevity, I have skimped on the credits. Most of the above characters have alternate actors for singing voices: Anne Germain as Delphine, Claude Parent as Solange, Romuald Figuier as Étienne, José Bartel as Bill, Donald Burke as Andy, Jacques Revaux as Maxence, and Georges Blaness as Simon. Some of the less prominent characters do too, leaving me to wonder whether Darrieux was the only on-screen actress to sing.

About half the musical sequences focus on dance over singing. No, we don't get to see a lot of that from Kelly, who was in his mid'50s by then. But it's no La La Land either; the choreography is pretty good.

As for the songs, the melodies are fine, and I've grown fonder of the sound of French. Sometimes the subtitles try for rhymes, tho not consistently. One odd scene has characters talking in rhyme, in both languages, without music. Maybe more than one did and I was too caught up in other elements to notice.

What could distract me so? Well, the plot, which I also skimped on above. It may look conceptually basic, and the loves are certainly shallow, but events get pretty intricate, and the dialog isn't slow. Some of its humor may get lost in translation, though I perked up at an explicit reference to Jules and Jim. The rest of the humor is largely in situational improbabilities, along with the cute brattiness of the sisters' much younger brother (Patrick Jeantet on screen, Olivier Bonnet for singing).

Apart from Kelly's age, you could almost believe that this musical came out a great deal earlier. There are just a couple lines too risque for the Hays Code era, not that that ever applied in France.

Overall, I just kinda like it. I feel I would've gotten more out of it if I were better versed in French. And maybe more alert at the time.