adaptation – Page 5 – PopCult Reviews

Movie Review – Freaks

Freaks (1932)
Written by Willis Goldbeck & Leon Gordon
Directed by Tod Browning

Tod Browning had a solid career as a director in Hollywood during the Silent Era and into the first decade or so of Talkies. He is responsible for a significant first in movies: the first Talkie horror film with Dracula. Based on a popular stage play (which was, in turn, based on Bram Stoker’s novel), Browning kickstarted the age of the Universal Horror Monster with this picture. It also gained him considerable clout and a blank check to make whatever he wanted next. MGM was interested in getting in on the horror game and offered Browning a shot at directing one for them. The filmmaker decided to go with the short story “Spurs” written by Tod Robbins. This film would be considered Browning’s magnum opus & disgusted the studio so thoroughly they cut it down from 90 minutes to 64, and the lost footage was destroyed.

Movie Review – The Silence of the Lambs

The Silence of the Lambs (1991)
Written by Ted Tally
Directed by Jonathan Demme

There are many glaring omissions in my film-viewing life, and this was one of them. I’d seen bits & pieces of The Silence of the Lambs over the years. Channel surfing in my twenties led me to see Clarice & Hannibal’s chats in prison, Mr. Lecter’s fantastic escape, and Clarice’s showdown in the labyrinth of Buffalo Bill. Yet, I had never seen the picture from start to finish while having seen the sequel Hannibal, 1984’s Manhunter, and the second version of that in Red Dragon. I’d also watched the first season of Bryan Fuller’s Hannibal. It seems silly that I’d never managed Lambs in total, so I decided to amend that for the horror season. Was it good? Of course, it was. It was also a reminder of how much this film impacted the crime/thriller genre for the rest of the 1990s and into the 2000s.

Movie Review – The Vanishing

The Vanishing (1988)
Written by George Sluizer & Tim Krabbé
Directed by George Sluizer

Each life hurtles through time & space on a course that the person who bears it can never truly predict. These lives cross with each other, but more often than not, they make no impact, brief encounters that dissolve. We can feel trapped in these lives, a passenger unable to exert their own will on the trajectory. Look at how so many people will simply follow the path of a parent or choose an identity based on how they will be perceived by the society around them. Even many “expressing individuality” are working from blueprints created by others, a manufactured uniqueness. But then some collide with your life, upending the sedate normality. What if our intersection with them is another moment we cannot escape, pulled into the event horizon of chaos? What is it to see something evil coming over the horizon and be unable to fight against its pull?

TV Review – My Brilliant Friend Season Two

My Brilliant Friend Season Two (HBO)
Written by Elena Ferrante, Francesco Piccolo, Laura Paolucci and Saverio Costanzo
Directed by Saverio Costanzo and Alice Rohrwacher

The subtitle of this season and its source material that the story is derived from is The Story of a New Name. This reflects the changes in Lila Cerullo’s (Gaia Girace) life and how one makes a name for oneself in transitioning from childhood into adulthood. Lila goes from being a Cerullo to a Carracci, and economically, she moves from poverty to comfortable working-middle class. For Lenu Greco (Margherita Mazzucco), she can leave their Neapolitan neighborhood but finds her roots as a child of poverty evident to her new acquaintances, causing others to view her as perpetually unrefined enough to ever achieve a higher status. Season Two is about the child’s transformation, whether having their dreams snatched away or transformed into something new.

Movie Review – Touch of Evil

Touch of Evil (1958)
Written & Directed by Orson Welles

None of his peers could come close to touching the natural filmmaking genius of Orson Welles. Sometimes, you hear film people overhype a filmmaker or actor, but in this case, believe the hype. Welles delivers a film that looks like nothing else that was out at the time, pushing the boundaries of American cinema once again. Charlton Heston was cast after the release of The Ten Commandments and was curious who would direct. Welles was already in the cast, and Heston suggested the film legend helm the picture. Universal said they would get back to him. He got the picture, rewrote it, and staged one of the most visually exciting film noirs ever made.

Movie Review – Kiss Me Deadly

Kiss Me Deadly (1955)
Written by A.I. Bezzerides & Robert Aldrich
Directed by Robert Aldrich

At one point, around the halfway mark, I turned to Ariana and said, “This main character… he’s a real scumbag, right?” She agreed. The screenwriter A.I. Bezzerides said, “I wrote it fast because I had contempt for it… I tell you, Spillane didn’t like what I did with his book. I ran into him at a restaurant, and, boy, he didn’t like me.” I haven’t read Spillane’s novel or any of his Mike Hammer work, but I liked how nasty the investigator was. It felt in tune with the world of film noir, where everyone seems to be simmering with misanthropy and taking their anger out on the world. Hammer is no exception to this. Kiss Me Deadly is also a film that has influenced many other pictures as varied as Alex Cox’s Repo Man, Raiders of the Lost Ark, and Pulp Fiction. This is by far the most cynical of all the noir pictures we’ve watched.

Movie Review – The Big Heat

The Big Heat (1953)
Written by Sydney Boehm
Directed by Fritz Lang

What is the Law? Who does it exist to protect? It’s becoming more evident to me, maybe to you too, that the Law as an institution in the States (as that is where I grew up) does not exist to protect me. If I benefit from it, that is an unintended benefit. The Law is in place to protect & serve the wealthy ownership class. The main prerogative of the police as an institution is to protect the rich & their property. If that means cracking the skulls of the plebs, they don’t shed a tear over that. The noir genre is full of characters who find themselves on the receiving end of these systems, and over the years, one subgenre has emerged: the rogue cop. It probably didn’t start here, but The Big Heat was likely one of the significant sparks to see this subgenre grow in popularity. It’s a very reactionary response to social injustice, continuing the fixation on hyper-individualist solutions.

Patron Pick – Gran Turismo

This special reward is available to Patreon patrons who pledge at the $10 or $20 monthly levels. Each month, those patrons will pick a film for me to review. If they choose, they also get to include some of their thoughts about the movie. This Pick comes from Matt Harris.

Gran Turismo (2023)
Written by Jason Hall, Alex Tse, and Zach Baylin
Directed by Neill Blomkamp

2023 feels like an apocalyptic year for Hollywood. The labor strikes, which the studio execs refuse to approach in good faith, stretch into the future. Rumblings of AI-generated films & television abound. The content coming out often feels like it was already written by AI anyway. The mainstream has never been such a void of humanity, and that’s saying a lot. The brand movie and video game adaptations have been hot commodities as trends shift in a disturbing direction. These two horrible new late-stage capitalism genres come together in the mire that is Gran Turismo. “Based on a true story” but clearly embellished and overly dramatized, which doesn’t help the picture to become more compelling. Not since Black Adam have I felt such a sinking sense of doom watching a movie that this medium I love so much is being strangled in the States, everything that made it worth engaging with melting away (thank god for world cinema!).

Patron Pick – Fences

Fences (2016)
Written by August Wilson
Directed by Denzel Washington

There is no argument against the acting in this film. It is solid from top to bottom, with Viola Davis stealing the show from a strong Denzel Washington. The emotions feel real, lived in, and presented with authenticity. The film adheres rigidly close to the original stage play to the point that the deceased August Wilson has sole screenwriting credit. That may not be the best direction for a film based on the play rather than a recorded performance of the stage play. Director Washington does a decent job giving filmic qualities to the material, but not enough. The world feels constricted because we never leave the house while so much time passes. Additionally, some themes about masculinity and fatherhood feel muddled, and the ultimate message is troubling.

Movie Review – The Third Man

The Third Man (1949)
Written by Graham Greene
Directed by Carol Reed

The film noir was an international hit. In our last review, we saw how Akira Kurosawa interpreted the genre in Japan. This time around, we look at a British application of noir. After watching this movie, I had a question: are Cold War/spy films a subgenre of film noir? There is undoubtedly some shared DNA. Look at a book/film like John Le Carre’s The Spy Who Came in From the Cold, which has all the tropes of a film noir, most importantly, a doomed protagonist who faces the consequences of his past actions despite trying to do better. Over time, the spy novel/movie became its own thing, but it was born out of the noir.