Hi everyone! Similar to restaurants, movie theaters, and other food establishments, it’s closing time for The Food & Film Blogathon. This event was a success, as the turn-out this year was larger ! To everyone who participated in The Food & Film Blogathon, thank you for your contribution. Whether it was a movie review or an editorial, the union between film and food was showcased in many different ways. I will host a new blogathon in 2026! But the event’s details won’t be revealed until sometime next February. Until then, you can check out my upcoming reviews, editorials, and lists!
The Food & Film Blogathon banner created by me, Sally Silverscreen. Original picture found on IMDB.
When one of my readers recommends a movie to me, I add that title to my film recommendation board on Pinterest and then write about it in one of my reviews. A movie that has been featured on the board for a while is 1942’s To Be or Not to Be. This presentation was suggested by Patricia (from Caftan Woman), Vincent (from Carole & Co.) and Allen Rizzi. Originally, I was going to select it for an upcoming Blog Follower Dedication Review. But when I learned about Hoofers and Honeys’ Carole Lombard Blogathon, I found a good reason to write about the movie sooner! While I received recommendations of Carole’s films, I’ve only reviewed two of those which she received a starring role. The first picture, In Name Only, was fine and likable. Meanwhile, Twentieth Century, is one of the worst movies I’ve ever seen. Now that To Be or Not to Be is the third film of Carole’s I’m discussing on 18 Cinema Lane, it’ll be interesting to see where I rank this title compared to Twentieth Century and In Name Only.
To Be or Not to Be(1942) poster created by Romaine Film Corporation and United Artists
Things I liked about the film:
The on-screen chemistry of Carole Lombard and Robert Stack: In To Be or Not to Be, Carole Lombard portrays a Polish actress named Maria Tura. Toward the beginning of the movie, Maria develops an attraction for a Lieutenant named Stanislav Sobinski. Portrayed by Robert Stack, Stanislav is enthusiastic to meet Maria, especially since he’s never met an actress before. Though they shared very few scenes together, the on-screen chemistry between Carole and Robert was pleasant! The scene where Stanislav and Maria first meet is a perfect example, as their interaction felt so realistic. During the conversation, Maria confidently talks about her career, carrying an easy-going personality. But when Stanislav asks her about a farm she brought up in an interview, she is caught off guard, but uses her acting skills to adapt to what Stanislav told her. Meanwhile, Stanislav is so happy to see Maria. A genuinely bright smile is displayed on his face and his eyes light up. Because of the strength of Carole’s and Robert’s acting abilities, they sold the idea of their characters sharing a mutual relationship.
Clever writing: While good writing receives praise and accolades, clever writing can, sometimes, become underappreciated. This is why I take the time to address when a movie’s script contains clever writing. That was certainly the case for To Be or Not to Be, as I was impressed with some of the writing in the film. A great example can be heard during a conversation between Maria and her husband, Joseph. She accuses him of seeking opportunities to steal attention away from her. Maria even claims, “if we should ever have a baby, I’m not so sure I’d be the mother”. Joseph reassuringly tells his wife, “I’m satisfied to be the father”. The aforementioned conversation could have been straightforward, which would have made it sound typical. But the screenwriting, as well as Jack Benny’s delivery, allowed scenes like this one to be memorable!
How war was incorporated in the film: Some of the opening shots in To Be or Not to Be focus on shops in Warsaw, Poland, specifically the names of those who own these shops. When, later in the movie, war breaks out in Poland, those same shops are burned down, torn to shreds, or collapsed. The names on those shops are also destroyed. These shots are a good representation of how war ruins not just buildings, but livelihoods, daily routines, and human connections. One of the actors who performs alongside Maria and Joseph is Greenberg. When he first observes the destruction in his neighborhood, he quotes Shylock’s monologue from the play, The Merchant Venice. This quote spoken against the backdrop of Poland during World War II changes the context of the quote itself, making it seem relevant to the story of To Be or Not to Be. Through visuals and the script, the film’s creative team addressed the seriousness of war and its impact on anyone of any profession.
A dialogue heavy story: Dialogue is an important component of any movie. It helps the audience learn more about the characters, discover potential plot twists, and follow along with the story. But in the case of To Be or Not to Be, the script was very dialogue heavy. There were long stretches of time where characters shared conversations with each other. This is the result of how much the creative team relied on telling instead of showing. If one isn’t actively paying attention to the story, they may miss important details. Had play performances or more action-focused scenes been evenly sprinkled throughout To Be or Not to Be, it would have created a balance between what the characters say and what the characters do.
The run-time: IMDB lists To Be or Not to Be’s run-time as an hour and thirty-nine minutes. This run-time, to me, seemed much longer. The long stretches of time of characters’ conversations I already mentioned made the film feel drawn-out. There are also parts of the story that don’t lead anywhere, such as Maria’s concerns about Joseph trying to steal attention away from her. If the script had been trimmed down, the run-time of To Be or Not to Be could have been an hour and thirty minutes or less.
Inconsistent sense of urgency: As I discussed earlier in this review, To Be or Not to Be takes place in Poland during World War II. The characters are directly impacted by this global conflict, even going undercover to stop the Nazis. These parts of the story create a sense of urgency. But this sense of urgency isn’t consistent within the 1942 presentation. That flaw was caused by the dialogue-heavy scenes I referenced in my review. These scenes’ length of time takes away from moments where immediate situations can be resolved. The imminent threat of war is also placed to the side because of the dialogue-heavy scenes. Having a more consistent sense of urgency would have strengthened the suspense and intrigue in To Be or Not to Be.
Theater seats image created by weatherbox at freeimages.com. “FreeImages.com/weatherbox.”
My overall impression:
Last year, I reviewed For Me and My Gal, a film I ended up liking. One of the reasons why I gave that movie a good review is because of how World War I was incorporated into the script. With a steady progression and subtle changes, realism was woven into a musical like For Me and My Gal. I’d actually prefer that movieover To Be or Not to Be. Though To Be or Not to Be is a fine, interesting film, the run-time felt longer than an hour and thirty-nine minutes. The story’s sense of urgency was inconsistent and the script was too dialogue-heavy. However, there are merits within the 1942 title. I wish Carole and Robert shared more screen-time together because their on-screen chemistry was pleasant. How war was incorporated in the film allowed the creative team to show the seriousness of war and its impact on anyone of any profession. I also liked the movie’s clever writing. Compared to the other films of Carole’s I’ve written about, Twentieth Century and In Name Only, To Be or Not to Be is somewhere in the middle. With over seventy movies on her IMDB filmography, I have plenty more projects of Carole’s to check out!
Overall score: 7 out of 10
Have you seen To Be or Not to Be? Would you like to see me review more of Carole Lombard’s movies? Let me know in the comment section!
Years ago, on 18 Cinema Lane, I admitted I had never seen any of Bruce Lee’s films. Since admitting that, I wanted to find the perfect opportunity to review a movie from his filmography. Now, I finally received that opportunity because of one man. In one of his interviews, Stefan “Princ” Zdravković said he watched Bruce Lee’s films when he was a kid. Ever since I saw that interview, I made a promise to review one of Bruce’s movies on Princ’s birthday. When I discovered Princ’s birthday was on September 29th, I knew I found a chance to fulfill that promise. Therefore, for this review, I have selected 1972’s Fist of Fury! Martial arts films are rarely covered on 18 Cinema Lane. Despite this, the ones I’ve seen (and reviewed) have been enjoyable. So, will I find Fist of Fury enjoyable as well? Read my review to find out!
Fist of Fury poster created by Golden Harvest Company, Nova Media, and Legend Films
Things I liked about the film:
The acting: Bruce Lee has earned a good reputation for his mastery of marital arts skills. However, based on my experience watching Fist of Fury, I believe Bruce is a stronger actor than most people give him credit for. A scene taking place after Huo Yuanjia’s funeral is the perfect example. Bruce’s character, Chen, is devastated by the loss of his martial arts teacher. He sits in silence and bears a serene yet sad look on his face as he tries to shut out the world around him. But as soon as his peers bring up how Huo Yuanjia died of pneumonia, Chen snaps into anger, shouting in denial with a fierce look in his eyes. This quick transition of emotions was flawless, making Bruce’s performance memorable! Another strong acting performance in Fist of Fury came from Ping-Ou Wei. Portraying an interpreter for a Japanese martial arts school named Wu, Ping-Ou effectively showcased a character that was smarmy and dislikable. This was achieved through vocal inflections, expressive eyes, and even tilts of the head. I actually looked forward to seeing Ping-Ou’s performance because it was that good!
Martial arts choreography: When I choose to watch a martial arts film, especially one starring Bruce Lee, I expect to see scenes featuring really good martial arts choreography. I can honestly say the choreography in Fist of Fury is excellent! All the execution of the movements are sharp and precise. Each duel looked like an intricate and calculated dance, with every opponent delivering strength and agility. Even the incorporation of swords and nunchucks showed how opponents use strategy to gain the upper hand. It also helps how each duel Chen battled in increased in intensity, building up to the movie’s climax. With everything I said, all the martial arts scenes maintained the excitement within the story!
Clever writing: Toward the beginning of Fist of Fury, Wu and two students from a Japanese martial arts school deliver a hand-written threat to Chen and his peers at the Chinese martial arts school. One of the students who accompanied Wu says if Chen defeats the Japanese martial arts school students, he’ll eat his words. Later in the film, when Chen goes to the Japanese martial arts school, he does defeat every student there. He then rips up the hand-written threat his school received earlier and forces two of the Japanese martial arts school students to, literally, eat their words. This is just one example of how some of the writing in Fist of Fury was clever!
Higher stakes: As I mentioned earlier in this review, Chen’s martial arts teacher, Huo Yuanjia, passed away. But Chen believes foul play was involved. Throughout the story, he vows to find the truth about what happened to his teacher. Meanwhile, a Japanese martial arts school wants to assert their dominance over the Chinese martial arts school. They go so far as to destroy property and threaten to close the Chinese martial arts school down. These parts of the story created higher stakes, giving the audience a reason to care about Chen and his wellbeing, as well as that of his peers. The higher stakes in Fist of Fury also brought suspense and intrigue to the overall presentation!
The sporadic incorporation of the mystery: Like I brought up in my point about Fist of Fury’s higher stakes, Chen vows to find the truth about what happened to his teacher, as he believes foul play was involved. This mystery was one of the most intriguing parts of the story. But, unfortunately, it was sporadically incorporated into the movie. That creative decision led the mystery’s reveal to be somewhat underwhelming. It also made the mystery itself seem, at times, forgotten about. I wish the mystery had a more consistent presence in Fist of Fury.
The audio: I recognize technology in the 1970s was very different from the technology of today. However, a major flaw of Fist of Fury I couldn’t ignore was the audio. I had to turn up my television’s volume because it was difficult to understand what the characters were saying. They, sometimes, sounded muffled, almost like lines were recorded in a library and added in during the film’s post-production phase. Since this is my first time watching any of Bruce Lee’s films, I don’t know if the audio has been an issue in his other movies?
Introducing a character toward the end of the film: Petrov is a Russian martial artist who is friends with the administration at the Japanese martial arts school. Portrayed by Robert Baker, Petrov also performed impressive feats, like bending metal. Even though Petrov was an interesting character, I didn’t like how he was introduced toward the end of the film. This creative decision prevented him from making a bigger impact on the story. In my opinion, if Petrov had been written out of Fist of Fury, it wouldn’t have made much difference.
Like I said in this review’s introduction, I admitted I had never seen any of Bruce Lee’s films. So, for an introduction, I’d say Fist of Fury is a good one! Yes, the martial arts choreography was impressive. But what I also liked about the 1972 movie was how engaging the story itself was. While I wish the mystery had a more consistent presence in the script, it did provide the film with intrigue and suspense. The mystery also provided the characters with higher stakes to deal with. I not only thought some of the writing was clever, I also liked the acting performances, especially Bruce’s portrayal of Chen. In fact, Bruce’s performance made watching Fist of Fury a memorable and enjoyable experience! For me, 2025 has become a year where I’ve gone out of my way to check out movies I’ve been meaning to see. So, with that said, I’m glad I finally got to see at least one of Bruce Lee’s films!
Overall score: 7.7 out of 10
Have you seen Fist of Fury? Would you like to see more of Bruce Lee’s films reviewed on 18 Cinema Lane? Let me know in the comment section!
2025 is my fourth year participating in the Rule, Britannia Blogathon. Two of my previously chosen films, Nicholas Nickleby and Kingdom of Heaven, were released in the 2000s. Meanwhile, Tommy premiered in 1975. For this year’s event, I selected a film that is much older than the ones I mentioned. That movie is 1949’s Kind Hearts and Coronets! I was recommended the film by Eric Binford from Diary of a Movie Maniac. Reflecting on my blogathon participation this year, so far, I have made a stronger effort to select films that were recommendations from my readers. Most of the recommended titles I selected for these blogging events were ok or fine. The only exception was She Wore a Yellow Ribbon, which I found disappointing. How will Kind Hearts and Coronets compare with the other titles? Keep reading my review to find out!
Kind Hearts and Coronetsposter created by Ealing Studios, Michael Balcon Productions, General Film Distributors (GFD), and Eagle-Lion Films
Things I liked about the film:
The acting: Dennis Price portrays Louis in Kind Hearts and Coronets. Throughout the story, Louis consistently carries a calm, collected persona. Even a prison warden points out how calm Louis is before his execution. Along with the aforementioned persona, Louis possesses a certain charm that allows his true intentions to be undetected. These qualities fool the other characters into welcoming him into their lives and giving him exactly what he wants. The strength of Dennis’ acting abilities effectively showed how Louis could fake it until he made it. One of the characters fooled by Louis was Edith. Despite becoming a widow, she never let grief consume her. Instead, Edith had a gentle persona and was kind to everyone. During a conversation she shares with Louis, she sympathizes with his estrangement from his family. The tone in her voice indicates how hurt she is to learn this about Louis’ life. Even the look on her face shows sadness and concern. Similar to Dennis’ performance, Valerie Hobson (the actress who portrayed Edith) presented a consistent portrayal of Edith. However, the acting overall was well done!
The dialogue: When the dialogue in a script is good, it can make conversations between characters sound natural. But when the dialogue is really good, it can leave a memorable impression on the audience. In Kind Hearts and Coronets, there was some dialogue that I thought was well-written! One example is when Edith learns how Louis and his mother were estranged from the D’Ascoyne family. Disgusted to discover Louis’ rejection, Edith says “they think too much of the rights of the nobility and too little of its duties”. Through that quote, she eloquently stated how family connections should have been a top priority. In another scene, Louis is giving his friend, Sibella, compliments. He tells her she has “a face that a man could see in his dreams for the whole of his life”. During this conversation, Louis could have simply said Sibella had a beautiful or pretty face. The creative team’s effort to provide some of the dialogue with quality, however, made Louis’ compliment sound like genuine thought was put into it.
Historical accuracy: Kind Hearts and Coronets takes place in England during the Edwardian era. This means the film’s creative team needed to adopt attention to detail in order to make their production look as historically accurate as possible. Through the set and costume design, that goal was achieved, making the movie feel immersive! The women’s wardrobe serves as one example. Sometimes, Edith and Sibella wear hats when out in public. These hats are larger in size and boast intricate designs. Using materials like flowers, ribbon, and even lace, the hats symbolize the wealth Sibella and Edith possess. They also perfectly represent the fashion in the world of Kind Hearts and Coronets.
Lack of suspense and intrigue: According to IMDB, Kind Hearts and Coronets is about “a distant poor relative of the Duke D’Ascoyne plots to inherit the title by murdering the eight other heirs who stand ahead of him in the line of succession”. Keeping this synopsis in mind, I expected a story where Louis’ scheme provided suspense and intrigue came from how Louis would face accountability for his actions. But as I watched the 1949 movie, I found the story lacking these elements. What the script focused on instead was the “slice of life”, mundane parts of Louis’ life. In fact, so much emphasis was placed on this aspect of the story, potential suspense and intrigue were an afterthought.
Little emphasis on the story’s moral: In Kind Hearts and Coronets, Edith quotes Lord Tennyson by stating “Kind hearts are more than coronets, and simple faith than Norman blood?” Based on that quote, I thought the moral of the film would be if Louis had just chosen kindness, maybe he could have enjoyed a duke title instead of facing repercussions for his choices. Sadly, this assumed moral was barely referenced throughout the story. Such little focus was placed on the moral of practicing kindness, I don’t even know what the moral of this story was supposed to be. Looking back on Kind Hearts and Coronets, I’m not entirely sure what this movie was trying to say.
The cliffhanger ending: For this part of my review, I will spoil Kind Hearts and Coronets. If you haven’t seen this movie and are planning on watching it, skip ahead to the part of my review titled “My overall impression”.
Louis is charged for the murder of Sibella’s husband, Lionel. Before his scheduled execution, Louis is told Lionel actually committed suicide, leaving behind a note. This discovery leads Louis to be released from prison. Upon leaving the prison, a writer approaches Louis with an offer to publish his memoir. This is when Louis realizes in horror he left his self-written life story, including his murder confessions, back in his jail cell. Then the movie ends. Louis’ realization was suspenseful, providing intrigue for who will discover Louis’ story. This suspense and intrigue could have been overarching elements throughout the movie. Therefore, I found the cliffhanger ending frustrating.
As a movie blogger, I have reviewed films I tried to like, only to be met with disappointment. Sadly, Kind Hearts and Coronets is one of those films. IMDB classifies the 1949 movie as a “comedy”. But I didn’t laugh at all while watching it. In fact, I almost fell asleep as I watched Kind Hearts and Coronets. I was let down by the story’s lack of intrigue and suspense. What doesn’t help either is how little focus was placed on the moral to the point where I didn’t know what the moral was supposed to be. While I won’t spoil the ending, I will say it left me frustrated. There were strengths within Kind Hearts and Coronets, however. The acting overall was well-done, some of the dialogue was well-written, and I liked the film’s historical accuracy. When the script is weak, though, there’s only so much these strengths can do to save the film.
Overall score: 5.2 out of 10
Have you seen Kind Hearts and Coronets? What productions from the United Kingdom would like to check out? Let me know in the comment section!
Back in March, I reviewed 1925’s The Phantom of the Opera in honor of the film’s one hundredth anniversary. But this is not the only movie celebrating this particular milestone. When I discovered Ben-Hur: A Tale of the Christ was also turning one hundred this year, I wanted to write about the film on 18 Cinema Lane. With “Silent Films” the theme of September’s Genre Grandeur, I found a good reason to check out this movie! Another reason why I wanted to write about Ben-Hur: A Tale of the Christ is because of how much I liked 1959’s Ben-Hur. I reviewed this version in 2019, which I ended up really liking. It was not only covered in a Blog Follower Dedication Review, it was also included on my list of ten classic movies I watched because of my blog. So, how does the original compare to the remake? Keep reading to find out!
The acting: Actors in silent films are forced to rely on the physical appearance of their performance. This means they must utilize body language, facial expressions, and emotions to express what their characters are thinking and feeling. As I write this review, it’s difficult for me to choose a favorite performance in Ben-Hur: A Tale of the Christ. Each portrayal was so captivating, watching this movie was an engaging experience! When Judah Ben-Hur is sharing drinks with Messala, he displays a relaxed smile and sits in a comfortable position, believing Messala has his best interests at heart. But after learning he and Messala can no longer put their differences aside, Judah quickly becomes saddened by this reality. His eyes express the pain of losing a friend. He also adopts a slight frown, wondering why his friend would change. Because Ramon Novarro’s performance was so strong, it was able to speak where dialogue couldn’t.
In Ben-Hur: A Tale of the Christ, May McAvoy portrays Esther, the daughter of Simonides. What I loved about her performance was how expressive it was! During a conversation with her father, Esther learns some shocking information. Her eyes become wide as a horrified expression is painted on her face. The more information she learns, the more shocked Esther appears. This consistent portrayal shows concern on her face as well. Similar to what I said about Ramon Novarro’s performance, May’s performance said so much while saying so little.
Color coded film: When I reviewed 1925’s The Phantom of the Opera, I talked about how much I liked the movie’s color coded film. Color coding this presentation gave each part of the story its own distinct significance. Ben-Hur: A Tale of the Christ utilizes color coded film as well. The way the film-making technique was incorporated into the movie signified the time of day in the story. Parts of The Nativity were shown in blue tinted film, indicating these parts were set at night. Jerusalem is covered in a light-yellow tinted film, meaning Judah and Esther first meet in the daytime. Most of the scenes that were fully in color depicted Biblical events. The creative team behind Ben-Hur: A Tale of the Christ used color coded film in very clever and visually interesting ways!
The scope: “Sword and sandal” films have been known for large set pieces and presenting them in grand ways. This was accomplished in Ben-Hur: A Tale of the Christ through the use of long and medium shots. Through the streets of Jerusalem, soldiers from various countries march together in a parade. Some long shots show off a massive stone structure that makes the people look like toy figurines. Both long and medium shots capture the magnitude of the crowds, emphasizing how many people came to see the spectacle. There were even shots that showed each group of soldiers, presenting how the groups were great in size. Because of the cinematography, Ben-Hur: A Tale of the Christ looked and felt larger than life!
The title cards: A staple of silent films is the inclusion of title cards. Without the use of dialogue, these title cards feature conversations between characters and describe what was happening in the story. But what impressed me about the title cards in Ben-Hur: A Tale of the Christ is how some of them were written. Reflecting on his conversation with Messala, an accompanying title card shares Judah’s thoughts and states “In outward seeming you are the same. But in spirit – you are a stranger”. In my opinion, this was an eloquent way of stating how Messala has changed. Later in the film, Judah proclaims “I am revenged indeed, but to what profit!” This quote on the title card addresses how, to Judah, success isn’t everything. These are just two examples of how this aspect of Ben-Hur: A Tale of the Christ went above and beyond!
White horse image created by Gabor Palla at freeimages.com. “FreeImages.com/Gabor Palla.”
What I didn’t like about the film:
The randomness of Iras: Within the second half of Ben-Hur: A Tale of the Christ, the movie introduces a character named Iras. While I liked Carmel Myers’ performance, I found Iras’ inclusion in the story random. The film establishes she is in a romantic relationship with Messala. But this relationship doesn’t really lead anywhere, as these two characters only share one scene together. A scene later, Iras flirts with Judah. Even though he is initially attracted to Iras, Judah pursues his feelings for Esther. Looking back on Ben-Hur: A Tale of the Christ, I wonder what Iras’ significance in the story was supposed to be? Was she intended to represent temptation or did she originally have a bigger role in the film, only for some of her scenes to be left on the cutting room floor?
The downplaying of Christianity/faith: I talked about liking the incorporation of Christianity/faith when I reviewed 1959’s Ben-Hur. In that review, I discuss how certain Biblical events were included into the overall story and how faith affected the characters and their actions. There were Biblical events depicted in 1925’s Ben-Hur: A Tale of the Christ as well. But unlike the 1959 movie, Christianity/faith was more downplayed in the 1925 film. The story places emphasis on Judah’s quest for revenge instead of how faith guided his life. From what I remember, Balthasar (one of The Three Wise Men) plays a greater role in the 1959 movie. This creative decision was, in my opinion, disappointing, especially since Ben-Hur is one of the better faith-based films.
Chariot statue from the Roman Empire image created by Michel Meynsbrughen at freeimages.com. “FreeImages.com/Michel Meynsbrughen.”
My overall impression:
When it comes to cinema, a lot can happen in one hundred years. Trends come and go, technology changes, and color film becomes commonly used. But in those one hundred years, there are movies that stood the test of time. They achieved this by bringing something new to the table, finding their audience, or being at the right place at the right time. Ben-Hur: A Tale of the Christ from 1925 is one of these movies. It showed what “sword and sandal” films could and should be. Through cinematography, the scope of the project created a world that feels larger than life. The way some of the film’s title cards were written went above and beyond, showing how Ben-Hur: A Tale of the Christ’s creative team put thought and effort into their presentation. Though the movie has more flaws than its 1959 remake, the 1925 movie is a solid silent film! It was entertaining and engaging, due to the strengths of the project, like the acting and how color coded film was used. I’m also incredibly grateful for the restoration and preservation efforts made for Ben-Hur: A Tale of the Christ, especially since silent films have become less common in these one hundred years.
Overall score: 8.1-8.2 out of 10
Have you seen 1925’s Ben-Hur: A Tale of the Christ? Which silent films would you like to check out? Please tell me in the comment section!
Anyone familiar with the television show, Community, will know the phrase “six seasons and a movie”. Ever since Abed (one of the show’s main characters) uttered the phrase in the show’s second season, the idea of any show receiving a movie and six seasons has become “the American dream” in the world of entertainment. While Community has indeed earned six seasons, the movie has been in development since 2022. But according to the film’s official IMDB page, it appears the movie may be on its way! ‘Community: The Movie’ (the movie’s current working title) is classified as “pre-production”. However, the release date is listed as “Expected 2026”. The page lists the majority of the show’s main cast, implying they will return for the film. Production companies working on the project are Sony Pictures Television, Universal Studio Group, and Universal Television. Peacock will, as of this article’s publication, distribute ‘Community: The Movie’.
Communityposter created by Krasnoff Foster Productions, Harmonious Claptrap, AGBO, Universal Media Studios (UMS), and Sony Pictures Television
This is the first time I’m talking about Community on 18 Cinema Lane. However, I wanted to cover this movie news story because the creative team behind the movie, as well as the show, is doing something that I appreciate; keeping a promise to the fans. Whether intentional or unintentional, “six seasons and a movie” became a promise, giving the fans something to hope for. So, when Community did get six seasons, it felt the show’s creative team stood by their word. Now, with the movie currently in development, the show’s creative team is, once again, staying by their word by giving the fans what they want. This makes me hope other television shows follow in Community’s footsteps.
What are your thoughts on this piece of movie news? Are you looking forward to ‘Community: The Movie’? Let me know in the comment section!
Are you looking for a fun blogathon that combines the subjects of food and film? Join my upcoming blogathon, The Food & Film Blogathon! Taking place from October 2nd to October 5th, there’s still time to join the event! With the connection between food and film providing a broad theme, plenty of topics are available to choose. If you’re interested in participating in The Food & Film Blogathon, click on the link below to learn more about the blogathon.
I have been participating in the Legends of Western Cinema Week Blogathon since 2020. Because films from the western genre aren’t covered on 18 Cinema Lane often, this blogathon has given me a reason to seek out titles from the western genre to review. But when the Legends of Western Cinema Week ends, another blogathon begins; the Hit The Road Blogathon. Since I wanted to participate in both events, I decided to review one film for both blogathons. That film is 1949’s She Wore a Yellow Ribbon! The movie perfectly fits the themes of both events, as it is not only considered a “classical western” (according to IMDB), multiple characters travel by horse throughout the story. She Wore a Yellow Ribbon was also recommended to me by Eric Binford from Diary of a Movie Maniac. While this is the fourth movie of John Wayne’s I’ve seen, this is only the third one I’ve reviewed. The other two titles, El Dorado and Allegheny Uprising, were, in my opinion, just ok. How does She Wore a Yellow Ribbon compare to these other films? Keep reading my review to find out!
The acting: Whenever I discuss the acting in a given movie, I will usually talk about a scene that showcases the strength of the acting performances. My favorite example from She Wore a Yellow Ribbon takes place toward the beginning of the film. John Wayne portrays Captain Nathan Brittles, a man who goes on one last mission before he retires. During an evening visit to the local cemetery, Nathan talks to the graves of his wife, Mary, and his daughters, Elizabeth and Jane. While he talks to his deceased family, he consistently has a sad look in his eyes. Yet, the inflection of his voice changes depending on the type of news he has to share. Joanne Dru’s character, Olivia Dandridge, also visits the cemetery to give Nathan some potted flowers. Olivia’s persona is kind and gentle throughout this scene. Her conversation with Nathan perfectly displays the on-screen camaraderie between Joanne Dru and John Wayne. Because of this on-screen camaraderie and how strong John’s and Joanne’s acting performance was, I wish they shared more screen time.
The scenery: Most of She Wore a Yellow Ribbon takes place outdoors, with the movie being filmed in Utah and Arizona (according to IMDB). Looking back on the 1949 picture, I can definitely see why the film’s creative team would want to take advantage of the story’s natural landscape. Large, rustic red rocks impressively stood against a blue sky filled with white clouds. There were greens spots where foliage popped within the rocky terrain. The most memorable presentation of the scenery was during a storm. The bright, blue lighting blinked against the two-toned gray sky and the sand-colored ground provided a bright hue to the space. She Wore a Yellow Ribbon was a pretty looking film because of its scenery!
The dialogue: In She Wore a Yellow Ribbon, Corporal Quayne’s life is spared after being rescued from an attack. Olivia shares with Lieutenant Flint Cohill how happy she is Corporal Quayne survived. Lieutenant Cohill asks her why she cares about Corporal Quayne, especially since she doesn’t know him or is aware if he frequents the Lieutenant’s Bar. Olivia responds to this question by saying just because a man frequents the Lieutenant’s Bar doesn’t automatically make him a gentleman. Lieutenant Cohill then accuses Olivia of caring about Corporal Quayne’s well-being because his survival fits the happy ending she can write home about. This conversation between Olivia and Lieutenant Cohill was thought-provoking, as it addresses motivations for caring about others, as well as how someone’s personal situation can fuel another person’s narrative. That is just one example of the well-written nature of the dialogue!
Limited amount of action: A movie from the western genre, especially one starring John Wayne, carries a set of expectations. One of those expectations is the amount of action within the story. Scenes of battles, duels, and even bar fights will typically be sprinkled through a western genre story to maintain the suspense and intrigue of what’s happening on screen. But in She Wore a Yellow Ribbon, the action was far and few between. The majority of the story consisted of characters either having conversations with one another or riding from place to place. When an action scene does happen, it lasts for a very short period of time. These creative decisions caused She Wore a Yellow Ribbon to lack intrigue and suspense.
Not truly getting to know the characters: So much of She Wore a Yellow Ribbon’s story focuses on Captain Nathan Brittles and his impending retirement. While the audience receives the opportunity to learn more about Captain Brittles and understand his motivations, it comes at the expense of getting to truly know the other characters. One character I felt was overlooked was Top Sergeant Quincannon. He was retiring around the same time as Captain Brittles. But the script never addresses how the story’s patrol mission impacted Top Sergeant Quincannon and his career. Instead, the film prioritizes his enjoyment of drinking alcohol. Because of this emphasis, I only became familiar with Top Sergeant Quincannon instead of truly getting to know him.
The run-time: She Wore a Yellow Ribbon has a run-time of an hour and forty-four minutes. As I watched the movie, however, it felt longer than this stated run-time. Part of this flaw stems from the insertion of scenes just for the sake of satisfying the film’s length. Toward the end of the movie, there is a bar fight involving Top Sergeant Quincannon. This scene lasts about five minutes and, in my opinion, feels out of place. That’s because the scene is intended to be comedic, even though She Wore a Yellow Ribbon is not a comedy or a light-hearted story. The movie’s run-time could have been shorter had the bar fight scene either been omitted or trimmed down.
She Wore a Yellow Ribbon is the third film I’ve reviewed this month where the scenery was a stand-out strength. In the case of the 1949 picture, the natural landscape of Utah and Arizona was presented through long and medium shots, capturing the grand scale of the desert’s rock formations and large expanse of rustic red and sand-colored land. But as I’ve said in past reviews, “the scenery can’t save you”. If a movie contains a weak script, there’s only so much the pretty landscape can do to salvage that script. In my opinion, She Wore a Yellow Ribbon is an underwhelming picture. What I expected to be an action-packed, suspenseful, and even intriguing story turned out to be a drawn-out tale that felt longer than necessary. It also doesn’t help how I wasn’t able to truly get to know the characters, but only become familiar with them. Even though the 1949 film does feature strengths, like the acting and the dialogue, there were times while watching the movie where I almost fell asleep. With a filmography of over one hundred projects, I’ll, hopefully, find a title of John Wayne’s I actually like.
Overall score: 5.2 out of 10
Have you seen She Wore a Yellow Ribbon? What film from John Wayne’s filmography do you like watching? Please tell me in the comment section!
August’s theme for Genre Grandeur is “Eastwood connected Movies (Clint or his progeny in any capacity)”. As soon I discovered this month’s selected theme, I immediately knew which movie I would choose! For years, I wanted to check out the1971 film, Play Misty for Me. This is because I had heard Play Misty for Me is the precursor to Fatal Attraction. Since I have seen the 1987 movie, I was curious to see how many similarities or differences Play Misty for Me and Fatal Attraction shared. With this month’s Genre Grandeur theme, I am finally getting that chance! By writing about Play Misty for Me, this is the first time I’m reviewing any of Clint Eastwood’s movies on 18 Cinema Lane. I am familiar with Clint as an actor, so I knew the types of roles he’s typically known for. Therefore, choosing to review Play Misty for Me as the first film of Clint’s covered on my blog is interesting, as it’s quite different from the westerns and action pictures he has usually starred in.
Play Misty for Meposter created by Universal Pictures, Jennings Lang, and The Malpaso Company
Things I liked about the film:
The acting: While I liked the acting as a whole in Play Misty for Me, I have to highlight Clint Eastwood’s and Jessica Walter’s performance. This is because their characters were given the most screen time. Throughout his film career, Clint has gained a reputation for portraying tough, unbreakable heroes. That reputation has been a result of starring in films from the western genre and in titles like Sudden Impact. But in Play Misty for Me, Clint’s character, Dave, adopted a very different persona. The radio disc jockey carries a suave personality with a hint of gentleness. In a great example when Jessica’s character, Evelyn, is restocking Dave’s refrigerator in preparation for dinner, Dave explains to Evelyn how he already has dinner plans. His explanation, however, is calm, which puts Evelyn at ease. Dave’s kind tone of voice, the understanding look in his eyes, and even the relaxed look on his face shows how he isn’t mad at Evelyn. Clint’s versatile acting abilities effectively portray how easy it is to fall in love with Dave!
As I just mentioned in this review, Jessica Walter portrays Evelyn. What I liked about her performance was her ability to seamlessly adopt different emotions. One perfect example is when Evelyn and Dave are having a conversation outside. Before Evelyn leaves Dave’s house, her attitude is friendly. A smile is painted on her face and her personality seems bubbly. But when a neighbor comes outside to complain about the noise, Evelyn immediately becomes very angry. She yells at the neighbor and her entire demeanor is tense. As soon as the neighbor leaves, Evelyn goes back to being friendly like nothing unusual had taken place. Jessica’s ability to seamlessly adopt different emotions was consistent throughout Play Misty for Me. This acting strength made Evelyn an unpredictable character.
The scenery: The biggest pleasant surprise in Play Misty for Me was the scenery! Filmed in Monterey and Carmel, California, the 1971 film features a lot of scenes showcasing the ocean and its surrounding landscape. A perfect example of how photogenic the scenery is can be seen when Dave and Tobie are on a date. One shot proudly displays the ocean at sunset. An orange and yellow sky is met with calm waters shimmering in blue, periwinkle, and lavender. In the foreground, a nearby tree, the edge of a cliff, and the characters’ silhouettes are shadowed, which are contrasted against the lighter colors of the sea. To me, this was one of the most beautiful shots in Play Misty for Me!
The incorporation of jazz music: In movies classified as “psychological thrillers”, the soundtrack primarily consists of suspenseful orchestral music to increase the suspense within that story. The creative team behind Play Misty for Me decided to take a different approach. Jazz tunes provide the main musical sound in the 1971 movie. This is not only because Dave works at a jazz radio station, he also attends a jazz concert. The sounds of this particular music genre invoke a sense of maturity and sophistication. That sophistication and maturity were woven into Play Misty for Me, which allowed the story to be taken seriously. Jazz music also pairs nicely with the oceanic scenery I talked about earlier in this review. The rhythmic movements of the waves and the steady notes of the music create a visual and auditory paradise!
A more annoying antagonist: Alex, from Fatal Attraction, is one of the scariest antagonistic characters in film history. While she is emotionally unstable, her attempts to infiltrate Dan’s life are calculated and intentional. A classic example is when Dan discovers the fate of his daughter’s pet rabbit. When I watched Play Misty for Me, Evelyn came across as more annoying than scary. That’s because her efforts to infiltrate Dave’s life are sporadic, whiny, and desperate. These factors caused me to not take Evelyn as seriously as Alex when it comes to being an antagonist.
Inconsistent suspense: Like I said in this review’s introduction, I have heard Play Misty for Me is the precursor to Fatal Attraction. Though it’s been years since I’ve seen the 1987 movie, I remember the story’s suspense being consistent. With all that said, I believed the suspense in Play Misty for Me would be consistent as well. Unfortunately, I was proven wrong. The suspense of Play Misty for Me was sparingly incorporated, only appearing in certain moments of the story. Most of the film features mundane moments with low energy, such as Tobie and Dave’s date, which lasts for about five minutes. That creative decision caused Play Misty for Me to lack a strong amount of adrenaline and intrigue.
A drawn-out film: According to IMDB, Play Misty for Me has a run-time of an hour and forty-two minutes. To me, though, the film felt longer than its run-time. This feeling was the result of some scenes being drawn out longer than necessary. Earlier in this review, I mentioned Dave attending a jazz concert. The scene featuring the concert lasted approximately five minutes. I mentioned Tobie and Dave’s date lasting about five minutes as well. Had these scenes been trimmed down to maybe three minutes or less, more time could have been spent providing Play Misty for Me with more suspenseful moments.
In my review’s introduction, I said I heard Play Misty for Me is the precursor to Fatal Attraction. Now that I’ve seen both movies, I can honestly say I’d prefer Fatal Attraction over Play Misty for Me. From what I remember of the 1987 film, the story’s suspense is consistent. Plus, Alex is a much scarier antagonist than Evelyn. Play Misty for Me contains flaws like inconsistent suspense and the film itself being drawn out. However, the 1971 movie does have its merits. I liked the acting performances, especially those from Clint Eastwood and Jessica Walter. The scenery was the biggest pleasant surprise of the film. Incorporating jazz music was an interesting approach to the psychological thriller genre, giving the story a sense of maturity and sophistication. With everything I’ve been saying, Play Misty for Me is, in my opinion, just ok.
Overall score: 6 out of 10
Have you seen Play Misty for Me? Are there any projects from Clint Eastwood’s or Jessica Walter’s IMDB filmography you’d like to see me cover on 18 Cinema Lane? Let me know in the comment section!
Any time I receive the opportunity to review a Hallmark Hall of Fame movie, I try to prioritize titles that are either VHS exclusive or harder to find. This decision has been made to help give those titles more recognition, as well as encourage more people to check those films out. One of these films is the 1990 picture, Face to Face! As far as I know, this Hallmark Hall of Fame presentation was not released on VHS or DVD. It also premiered months prior to the Hallmark Hall of Fame movie, Caroline?, which I have reviewed on 18 Cinema Lane. The synopsis is what intrigued me toward seeing Face to Face, as the story (according to IMDB) is about “an American paleontologist and a British miner get in a conflict over who has the rights to dig on a site in Kenya”. A conflict about two differing parties at odds over a shared problem isn’t often covered within the Hallmark Hall of Fame collection. In fact, the only movies I can think of that fit this description are The Summer of Ben Tyler and Sweet Nothing in My Ear. Face to Face’s Kenyan backdrop also provides a unique element to the movie. Africa is a setting that is rarely incorporated in Hallmark Hall of Fame’s films.
Hallmark Hall of Fame’s Face to Faceposter created by Hallmark Hall of Fame Productions, Robert Halmi, and CBS
Things I liked about the film:
The scenery: As I mentioned in this review’s introduction, Face to Face takes place in Kenya. The creative team behind the film took advantage of the Kenyan landscape by featuring long and medium shots of the story’s natural surroundings. One example is an establishing shot of a sunset. Half the shot is engulfed in an orange and yellow sky, with a grey mountain at the sunset’s root. Nearby trees adopt a black hue, standing out against the sky’s bright colors. The ground appears to be a mix of rustic red and brown, warmed by the light’s glow. This establishing shot is so gorgeous, I doubt pictures would do it justice.
The dialogue: In my recent review of 1973’s From the Mixed-Up Files of Mrs. Basil E. Frankweiler, I praised the film’s dialogue. I mentioned how some lines were so well-written, they became a memorable part of the movie. Hallmark Hall of Fame’s Face to Face shares the same strength! The film’s dialogue was not only witty and clever, it was also, at times, thought-provoking. During one evening, Face to Face’s protagonists, Diana and Tobias, are listening to the sound of a flute. This music is created by a young man named Enjoro, who works with Tobias. Impressed by Enjoro’s talent, Diana says “Just think what he could do with an education”. Tobias quickly replies by asking “Isn’t what he’s doing enough”? This conversation is a great example of how good intentions may be quite different from what a person wants or needs. Earlier in Face to Face, Diana’s arrival in Kenya is met by a colleague named Dr. Brinkman. On a nearby map, Dr. Brinkman is trying to locate Diana’s dig site. As he’s searching for the site, Diana says to Dr. Brinkman “You’re close”. When he asks her “How close”, she matter-of-factly tells him, “Got the right country”. The exchange between these two characters showcases the wittiness found in Face to Face’s script!
Enjoro’s subplot: Like I just said in this review, the flute music is created by a young man named Enjoro, who works with Tobias. But music is not his only passion. Enjoro is also a talented artist, with his drawings impressing Diana so much, she gives him an art set. Unfortunately, these artistic passions are frowned upon by his village, who would rather see Enjoro become a warrior. This personal struggle between village tradition and personal pursuits provides a subplot in Face to Face. A conflict like Enjoro’s is rarely incorporated in Hallmark Hall of Fame’s movies. In fact, I found Enjoro’s part of the story more interesting than the main plot. Had this film focused primarily on Enjoro’s personal conflict, I think the overall movie would have been more compelling.
An unlikable protagonist: I recognize the creative team behind Face to Face was trying to utilize the “enemies to lovers” troupe when it came to Tobias and Diana. I also acknowledge they were trying to give Diana and Tobias an “opposites attract” dynamic. Unfortunately, these parts of the story were not as effective as they could have been. One reason lies with how unlikable Diana was. For the majority of the movie, she was a static character; close-minded, stubborn, and entitled. When Tobias offered a compromise or tried to make peace with her, Diana shut down his offers and even saw him as beneath her. Even though Diana and Tobias eventually develop romantic feelings for each other, that attraction felt abrupt. If Diana’s change of heart had been more gradual, not only would she be a more likable character, the build up between her and Tobias’ attraction would have been stronger.
The audio: Face to Face premiered in 1990. Therefore, I’m aware of how film-making technology back then was not as advanced as it is today. But one of the signs of these times was the bad audio heard in the Hallmark Hall of Fame film. Most of Face to Face takes place outdoors. This means not only were the cast’s speech picked up by microphones, background noises were picked up as well. The collection of sounds sometimes made it difficult to understand what the characters were saying. Face to Face could have benefitted from using ADR (automated dialog replacement).
The “insta-love” troupe: When I talked about how unlikable Diana was, I brought up the “enemies to lovers” troupe Face to Face’s creative team tried to utilize. I also brought up how Diana and Tobias’ attraction for one another felt abrupt. This was caused by Tobias and Diana remaining “enemies” for more than half the movie. So much time was spent showing Diana and Tobias bickering, disagreeing, and being negative toward each other instead of the protagonists building a romantic bond over time. When Tobias and Diana eventually fall in love with one another, the “insta-love” troupe unnecessarily makes an appearance in Face to Face. Having the protagonists stay “enemies” for too long also made Elizabeth Montgomery and Robert Foxworth’s on-screen chemistry seem weak.
With the publication of my Face to Face review, I have now seen all three Hallmark Hall of Fame movies released in 1990. Out of these films, I find Caroline? the best one. As for Face to Face, I thought it was just ok. This is one of those movies where a better story idea was buried within the presentation Hallmark Hall of Fame gave its audience. I honestly wish Enjoro’s story had been chosen as the main plot. His personal conflict between village tradition and personal pursuits provided a compelling narrative. I also wish Tobias and Diana had spent more time developing a romantic relationship and working together to solve their shared problem. These creative decisions would have prevented flaws like the appearance of the “insta-love” troupe. Face to Face features merits such as the dialogue and the scenery. But I can think of better movies also featuring these merits. Though there are interesting ideas woven into the script, I can kind of see why Face to Face became lost to time.
Overall score: 6.1 out of 10
Have you seen Hallmark Hall of Fame’s Face to Face? Are there any Hallmark Hall of Fame films you’d like to see reviewed on 18 Cinema Lane? Please tell me in the comment section!
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