I actually quite like fried spleen.
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Seven Golden Men 1965
Just another in type to throw on the pile. Very disappointed by the Trovajoli score, which may as well have been lifted from the 10th Victim or five other films (or perhaps they lifted it from this?), and with all the crossings and double-crossings, nothing really mattered in the end. Fun to see Moschin play a German, however poorly his accent was dubbed, and Podestà was a nice diversion -- but literally served no other purpose -- but for being an international heist film, I'd have enjoyed more postcard shots and a bit more personality.
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Cellar Dweller 1987
Decent production design, monster effects, and performances, certainly better than the idiotic majority within the genre, but utterly pointless. Ok, so the comics make the beast come alive and kill. And? Why? Then what? No narrative arc, no character development, no moral or theme as far as I could tell, just an excuse to use a monster suit.
This review was written from the toilet.
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Chameleon Street 1989
There's something so hauntingly familiar about this performance, something between charming and unsettling. What a bold, confident film, if maybe a bit flashy, and what a nuanced character, like the complete inverse of Hal Ashby's Being There. It absolutely blows my mind that Wendell B. Harris, Jr. has yet to make another film, that his filmography as an actor is so strangely bare. A huge loss for all of us. Here's hoping he's got something left in the tank, and that he's allowed to start the engines.
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The Heartbreak Kid 1972
A grown-up, wonderfully cynical take on The Graduate, in some ways. Grodin was so, so good at playing an asshole, and this must be his best performance. Berlin is incredible, too! The egg salad, my lord. Neil Simon is a genius but Elaine May is a god. This is so, so relevant in the era of online dating, holy shit. We suck.
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