Archive for the ‘Drama’ Category

First Man

Monday, November 19th, 2018

>I really dug WHIPLASH and LA LA LAND so I was gonna see any new movie from director Damien Chazzelle. When I saw the trailer for FIRST MAN, his new one starring Ryan Gosling (FRANKENSTEIN AND ME) as Neil Armstrong, it looked like it was shot in an unorthodox way, but I still wondered why we would need another astronaut history moon movie. Haven’t we seen every variation of this? Clean cut, crew-cut, cut-from-a-different-cloth heroes like they don’t make anymore. Courage and adventure and boy scouts and all that. Is there anything new to say about it?

Well, it is in fact a totally different take. In fact, I don’t see anyone saying this, but it seems to me like kind of a subversion or at least a deconstruction of that ideal of heroism.

Sure, you also have all the stuff about what a preposterous feat it was to figure out you can shoot some guys on a fuckin rocket, have them get out and walk around on the moon, and then come back and land on earth safely. I mean, how the fuck? The filmatism really concentrates on rockets as rickety, iffy propositions. We’re crammed in there with him in the test flights, or with the crew on the real launches. Always claustrophobic. We hear all the roaring, vibrating, clattering, rattling and mysterious straining metal groans from somewhere in the machine. The dials and buttons click and look so impossibly low-tech today. Even when they were the state of the art they couldn’t have felt all that safe. (read the rest of this shit…)

A Star Is Born (from director Bradley Cooper)

Monday, November 12th, 2018

A STAR IS BORN, from director Bradley Cooper, is a very good adaptation of the trailer that played before every single movie I saw in a theater for the last three months. I saw that trailer so many times I would try to act it out and could sing the two songs (one with correct lyrics, even). I would get just those song fragments stuck in my head for days. So it’s exciting to discover that they have second verses.

I don’t know if it’s as good as an adaptation of the 1937 film starring Janet Gaynor and Fredric March, or the 1954 one starring Judy Garland and James Mason, or the 1976 one starring Barbra Streisand and Kris Kristofferson, or the 1998 made-for-cable one starring Brandy and Casper Van Dien, because I haven’t seen any of them and made up the last one. I have to assume it’s closest to the ’76 because actor Bradley Cooper (THE MIDNIGHT MEAT TRAIN) definitely seems to be channeling Kristofferson’s rugged country poet vibe. I even contemplated whether or not he should be allowed to play Whistler if they ever do a new BLADE. Then I realized that really the voice he’s doing is Sam Elliott, so I was delighted when the actual Sam Elliott (ROAD HOUSE) showed up, playing his older brother/road manager. I wondered if that was awkward between the two actors, and then I found a Good Morning America interview where Elliott says Cooper (THE MIDNIGHT MEAT TRAIN) warned him “this is gonna be a little weird” before playing him a tape of the voice he was working on. “And it was a little weird.”

What if Elliott hadn’t been available? If they ended up casting, like, Don Johnson or Willem Dafoe or somebody, would they have to imitate Sam Elliott too? (read the rest of this shit…)

The Black Klansman (1966)

Tuesday, November 6th, 2018

Spike Lee’s BLACKkKLANSMAN is out on video today. Back when I saw it in the theater it made me curious about the 1966 movie of the almost same title. THE BLACK KLANSMAN was also released as I CROSSED THE COLOR LINE, and it’s from exploitation director/mustache aficionado Ted V. Mikels (THE ASTRO-ZOMBIES, THE CORPSE GRINDERS, BLOOD ORGY OF THE SHE-DEVILS, THE DOLL SQUAD, ANGEL OF VENGEANCE, APARTHEID SLAVE: WOMEN’S JUSTICE, PARANORMAL EXTREMES: TEXT MESSAGES FROM THE DEAD, etc.)

It all starts when a young black man in Turnerville, Alabama, fed up with the bullshit, decides to exercise his right to go into a still-segregated coffee shop and order some coffee. The white customers stare, then insult him, then all get up and storm out. That night the Klan – led by one of the guys who was in the restaurant – murder him, then firebomb a black church, killing a little girl. She was the daughter of Jerry Ellsworth, a singer in L.A. He’s introduced showing up late to his job at the club because, he claims, he was out heroically helping people during the riots (not pictured). (read the rest of this shit…)

54

Wednesday, September 19th, 2018

I’m a little behind schedule but ladies and gentleman, welcome to the final review in the Summer of ’98 series.

August 28, 1998

54 is the second of summer ’98’s competing disco movies. I’m not sure if it’s the DEEP IMPACT or the ARMAGEDDON, but it’s the not as good and not as well reviewed one. Like LAST DAYS OF DISCO it’s about a particular New York City disco in the later years, and there are conflicts between the management and staff that end with the place being raided by the IRS. But this one is in no way about yuppies, it’s based on the history of a real place, the main characters are all employees of the club, and there’s much more emphasis on the disco as a sanctuary for outcasts and misfits, so it would seem to have the potential to be BEAT STREET to LAST DAYS’s BREAKIN’.

But only the potential. Nobody seemed to take it that way.

Shane (Ryan Phillippe, SETUP) is a macho goon from New Jersey whose dreaming eyes gaze across the water to New York City like Luke Skywalker looking to the stars. He’s drawn to Studio 54 by newspaper columns about the celebrities who go there, so he perms his hair and drags his meathead buddies (including Mark Ruffalo, THE DENTIST) there with visions of Olivia Newton-John dancing in their heads, but only Shane (minus shirt) gets past the openly looks-based velvet rope elimination process.

For a second Shane seems like a Tony Manero, but he doesn’t give a shit about dancing (as in LAST DAYS, dancing is an oddly small part of the disco story). There’s a dramatic closeup of his foot hesitating to take its first step on the dance floor, but then he just goes into the crowd and yahoos for the band like he’s cheering on a football game. The looks he gets cause him to observe his surrounding and copy the other people’s moves. Then he quickly gets a job as a shirtless bus boy and doesn’t have to dance anymore. (read the rest of this shit…)

BlacKkKlansman

Wednesday, August 22nd, 2018

BLACKkKLANSMAN is the new Spike Lee joint, and it seems like it’s getting way more attention than at least the last decade of his jointography. I don’t remember half this much interest in CHI-RAQ, OLDBOY, RED HOOK SUMMER or MIRACLE AT ST. ANNA, and even I haven’t gotten around to DA SWEET BLOOD OF JESUS yet.

I believe there are a couple reasons for the commotion on this one:

1) It’s produced by GET OUT‘s Jordan Peele

2) and also Blumhouse, who know how to market a low budget movie

3) it’s based on the true story of a black cop who infiltrated the Ku Klux Klan, which is a good hook

and most importantly (read the rest of this shit…)

Eighth Grade

Tuesday, July 31st, 2018

EIGHTH GRADE is a beautifully true high definition close-up on the most awkward of ages. You don’t feel like a kid anymore, but the high schoolers you’re about to be tossed in with seem like adults, and you haven’t even caught up with the kids your own age. If you’re Kayla (Elsie Fisher, a voice in the DESPICABLE ME film saga) you pride yourself on knowing how to conquer life – in fact your hobby is creating Youtube videos giving friendly, positive advice – but really you feel like every single other person knows what they’re doing and you don’t.

The movie isn’t in first person, like I’m describing it here, but it’s almost that intimate. So much of it stays close on her face, the kids around her a little out of focus. From her terrified expressions you can feel her chest about to implode with tension, but you can also tell that nobody notices. They’re off in their own world. They don’t even look at her.

For my money this is an improved grade of WELCOME TO THE DOLLHOUSE. It captures the nightmare of social awkwardness without having to exaggerate the ugliness of the world. It’s not mean. It’s real. Sure, there’s cringing, but it’s organic cringing, not pushed-to-the-limit cringing like we enjoy in Curb Your Enthusiasm and stuff. The events are mostly mundane – a birthday party where she doesn’t fit in, a trip to the mall with older kids – but they feel as heavy and monumental as they would at that age. (read the rest of this shit…)

Pi (a.k.a. π)

Wednesday, July 25th, 2018

July 10, 1998

PI might be the most impactful of the summer of ’98 indies, at least in the sense that it introduced filmmakers who continue to be relevant 20 years later. It’s one of the old fashioned, scrappy, less-than-a-million dollar shoe-strings-and-boot-straps indie debuts, by which I mean it’s in black and white. Actually, 16mm high-contrast black-and-white reversal film. Vincent Gallo claims he fired Dick Pope as cinematographer of BUFFALO ’66 because reversal stock was too hard for him, but here’s director Darren Aranofsky and cinematographer Matthew Libatique, two Mr. Nobodies out of nowhere and they know how to use it. I like this kind of look, the grain dancing around, creating shadowy faces. It’s so opposite of how low budget movies usually look now that they’re digital.

Co-writer Sean Gullette (TRAITORS) plays Max, a genius mathematician obsessed with his thesis that “everything around us can be represented and understood through numbers.” When he was a kid, he says, he stared into the sun, and this gave him an ability to notice numbers everywhere. He’s fixated on discovering patterns in long sequences, a hobby that first-time director Aranofsky has fun trying to make seem cinematic through fast editing, the cool guy electronic dance music of the era and pre-THE-MATRIX lo res on-screen strings of numbers. Also he figures out how to get some foot chases in there (Max thinks he’s being followed). (read the rest of this shit…)

Buffalo ’66

Tuesday, July 17th, 2018

June 26, 1998

Look, I don’t want to brag, but in 1998 I was twenty years younger than I am now. I had the youth. The vigor. The open-mindedness and enthusiasm for things that seemed new and different. I had less of the anger toward people who get on lawns – if I had had a lawn I would’ve invited the youths to hang out on it and talk about youth stuff like did you know Lauryn Hill is doing a solo album or what is up with these Furbies or have you heard about this new WB show coming out in the fall they’re calling it “Ally McBeal in college” I don’t think I’ll watch it but it’s something I read about.

What I’m trying to do here is establish why it’s a good thing that in 1998 BUFFALO ’66 seemed like a great movie. I mean, I haven’t entirely turned my back on it. It’s still interesting. It has many positive qualities. But I definitely question it more now.

It’s easy to see what was appealing in that moment. Star/director/co-writer/composer Vincent Gallo plays Billy Brown, a just-released convict who looks like he inspired half the dudes who were in American Apparel ads (I mean, look at that striped muscle shirt). With cinematographer Lance Acord (first feature for the music video d.p.) he shoots scuzzy locations that seem like the stale refuse of the ’60s and ’70s: cracked parking lots, a bowling alley, a motel, a tiny house decorated in Buffalo Bills memorabilia. Chic, magazine ad ugly. I’m actually kind of surprised it’s not in black and white, but the muted color palette is one of its most striking features. (read the rest of this shit…)

The Truman Show

Wednesday, June 13th, 2018

June 5, 1998

Truman Burbank (Jim Carrey, THE DEAD POOL, PINK CADILLAC) thinks he just enjoys a normal white picket fence type life mowing the lawn and saying hello to the neighbors and putting on a suit to go work at the insurance company and all that type of shit. He has no idea that his idyllic town of Seahaven is actually a set built on a soundstage so huge it can be seen from space, or that everyone around him, from the random cars that drive past him to his own wife Meryl (Laura Linney, ABSOLUTE POWER, MYSTIC RIVER, SULLY), are hired actors, in on the deception. Literally everything in his life is staged for his benefit.

It sounds like a Twilight Zone premise, and it kind of is: there’s an episode of the ’80s incarnation of the show that’s pretty similar. In “Special Service,” written by J. Michael Straczynski (CHANGELING), David Naughton is shaving one morning when the bathroom mirror falls off the wall and he sees a camera behind it. A serviceman shows up and tries to make excuses but soon has to admit to him that his life is a popular TV show. He seems to be allowed to live in the regular world, though, and the people around him are just cool about keeping the secret until the cat’s out of the bag, at which point he gets mobbed by screaming women. He also got to grow up normal before they started doing this to him five years ago. (read the rest of this shit…)

The Horse Whisperer

Monday, May 21st, 2018

May 15, 1998

THE HORSE WHISPERER is a drama about healing and romance and horses. It’s pretty simple and intimate, focusing mainly on three characters, but it’s on an epic canvas; it’s nearly 3 hours long and it spreads out to widescreen when it moves from New York to the wide open fields of Montana, photographed lovingly by Robert Richardson (U-TURN, THE AVIATOR, DJANGO UNCHAINED).

Sixteen year old Grace (Scarlett Johansson in her followup to HOME ALONE 3) has a horrific horse-riding accident – I was actually unprepared for how fucked up the accident is – that results in the death of her best friend (Kate Bosworth [THE WARRIOR’S WAY, HOMEFRONT] in her first movie) and her friend’s horse, plus the loss of one of her legs and the mangling of her horse, Pilgrim. (This is the third movie of the summer where a semi-truck plowing into someone is a crucial plot point, but I don’t think this one involved a tired driver.) The experts want to put the horse out of his misery, but Grace’s mom Annie (Kristin Scott Thomas, UNDER THE CHERRY MOON) never gives permission, so he lives in a barn all scraped up and violently freaking out when approached. Grace is kind of the same, hating her mom and her life and breaking down when she sees Pilgrim scared of her.

But Annie reads a magazine article about this horse expert in Montana named Tom Booker (Robert Redford [THE HOT ROCK], his first time starring and directing at the same time). When she can’t get him to come to New York she packs up her daughter and horse against their will for a long drive conveyed through the medium of longer-than-expected driving montage. Grace dodges all attempts at conversation and bonding – thankfully the movie doesn’t give Annie any horse troubles on the trip. That would be a nightmare. I don’t know how helpful a horse whisperer is when your psychotic horse gets loose at a truck stop. (read the rest of this shit…)