Pausing for the day at the intermission. So far as bloated and unwieldy as advertised, but still quite a good time. Will be picking up with the Ford segment later.

To Hell and Back, it’s okay!

Comes on the second disc if you buy HTWWW by itself. But in the Warner Archive Stewart set, it’s just the first disc with the standard version (which is okay, this movie is the least important in the set for me)

Except with Audie Murphy instead of Jimmy Stewart, that’s a pass from me

The set includes the insanely wide letterboxed version in 2.89:1, but not the so-called “smileboxed” version with the curved image

DESTRY RIDES AGAIN is a banger.

1 segment each from Ford and Marshall, 3 segments for Hathaway, not a good sign.

Even if you accept the most generous, government approved narrative that this guy was reaching for a gun (which is bullshit, for the record), they pump this man’s motionless body full of bullets while he’s lying on the ground. That’s an execution.

It is shockingly normal in writing and plausible in our circles and just seems like someone looking for a vote in a poll

If you get a DM from a mutual about a podcasting contest that they need your vote for, do NOT click the link

It’s definitely no OBAA on the cinematography front, but it mostly achieves that look (which often grates on me) at a higher level of craft and aesthetic intention than most films at that level. (Not to mention a stratospheric leap from WAKANDA, which was the same DP)

Can’t recommend enough, as good as modern noirs get (and like all of his stuff, still quite funny at points)

It’s very good, he’s always doing wild shit with the camera. It also looks a smidge antiseptic compared to DECISION TO LEAVE if I’m being very picky. But we’re talking EXTREMELY picky. The man has set a crazy high bar for himself