seen from Japan
seen from United Kingdom
seen from Malaysia
seen from United States
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seen from China
seen from Türkiye
seen from Malaysia
seen from United Kingdom
seen from Pakistan
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seen from Maldives
seen from United Kingdom
seen from United States
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Thoroughly Modern Millie (1967). Millie comes to town in the roaring twenties to encounter flappers, sexuality and white slavers.
Another movie where the cast really is the highlight - I mean, Julie Andrews! Mary Tyler Moore! Otherwise, it’s about thirty times too on the nose for me, with a really, really weird plot and some truly bizarre action sequences. The music is good though, and some of the set-ups are pretty fun. 6/10.
The Dirty Dozen (1967). During World War II, a rebellious U.S. Army Major is assigned a dozen convicted murderers to train and lead them into a mass assassination mission of German officers.
This is such a macho film, but man, if it isn’t a fun one. The chemistry between the actors gives it such a bounce, the editing making it clever, brisk and ultimately a total romp through the second world war. It makes for an engaging, compelling movie, and a unique take on the war film. 7.5/10.
Barefoot in the Park (1967). Paul, a conservative young lawyer, marries the vivacious Corie. Their highly passionate relationship descends into comical discord in a five-flight New York City walk-up apartment.
I mean, this movie basically coasts on how damn pretty Robert Redford and Jane Fonda are together. It helps that they’re, really, very sweet too, and the supporting performances from Charles Boyer and Mildred Natwick, are pretty charming too. Otherwise, there’s really not a lot going for this odd, forgettable little film. 6.5/10.
Cool Hand Luke (1967). A laid back Southern man is sentenced to two years in a rural prison, but refuses to conform.
Paul Newman is honestly one of the most charismatic actors I’ve seen on-screen, and he does a tremendous of balancing the many, ever changing facets of the titular Luke. He’s bold, compelling, and all around great. It helps that he’s bolstered by such a tremendous supporting cast, and visual sensibility. It’s a great film, and definitely one of the better prison films of the century. 8/10.
The Taming of the Shrew (1967). Brutish, fortune-hunting scoundrel Petruchio tames his wealthy, shrewish wife, Katharina.
The Taming of the Shrew is far from my favourite Shakespeare play - I tend to fight it pretty misogynistic, which is a shame, especially when it has so many interesting adaptations (particularly 10 Things I Hate About You!) That aside, this is a solid adaptation, and a serviceable film. The costumes are great, and Elizabeth Taylor and Richard Burton have a fiery chemistry that so underlines their performances (and romance) together. 6.5/10.
The Jungle Book (1967). Bagheera the Panther and Baloo the Bear have a difficult time trying to convince a boy to leave the jungle for human civilization.
I really do have a soft spot for The Jungle Book - from it’s lush animation, terrific sense of pace and rhythm, to it’s wonderful voice acting, their really is a lot to like. That said, there’s also a lot to dislike, particularly in it’s blatant racist stereotypes, a product of both the subject material and the age of the adaptation. 7/10.
Doctor Dolittle (1967). After the animal communicating veterinarian goes too far for his clientèle, he and his friends escape their hometown to sea in search of the Great Pink Sea Snail.
It’s so, so bizarre to me that this film was nominated for Best Picture against such excellent classics like In the Heat of the Night, The Graduate and Guess Who’s Coming to Dinner. It’s not that it’s a terrible movie, it’s just in a whole other (and yeah, I’ll cave - lesser) league. Still, it’s not a bad little family film, with a swift pace, and a bit of charm. That said, it’s also not exactly something I’d call Best Picture worthy. 6/10.
Guess Who’s Coming to Dinner (1967). A couple's attitudes are challenged when their daughter introduces them to her African American fiancé.
I knew enough about Guess Who’s Coming to Dinner that I kind of figured I’d love it, still, it really is a tremendously wonderful movie. The cast is, across the board, brilliant, with Spencer Tracy and Katharine Hepburn’s swan song performance together something close to magic. The screenplay is rich with texture and complexity, and the film has compassion for all it’s characters, and the worry that comes with loving an interracial couple in the 1960s. It’s strong, and genuinely very, very good. 8.5/10.
