JOHN CASSAVETES’ HUSBANDS — A REVIEW BY NICK CLEMENT

3

Husbands is a take no prisoners drama about men facing uncertainty in middle age. I can see how this film was so polarizing for many people back when it was released in 1970, but there’s no question that writer/director John Cassavetes was on to something extremely intense and raw and honest with this purposefully ragged account of men being boys who think they are being men. I loved the improvisational spirit and style, the performances from Ben Gazzara, Cassavetes, and Peter Falk all complement one another brilliantly, and all three men got a chance to etch an extremely detailed portrait of masculine malaise that felt rooted in truth and feeling. This is one of those epic waste-festival movies that will turn off some viewers because of the excessive debauchery, but I found it to be thought provoking, emotionally stirring, and frequently hysterical.

2

You can definitely see why this film has been so inspirational to so many filmmakers over the years, and how the style has been appropriated countless times. Victor Kemper’s bold cinematography shoved every image in your face with force, while the spontaneous nature of the filmmaking aesthetic and acting in general allowed for unpredictable beats of true life to bubble to the surface. This has got to be one of the ultimate cinematic explorations of manliness in all its forms and complexities, while it simultaneously operates as a scabrous indictment of the marriage in suburbia. The film’s final scene stings with a poignancy and uncertainty that is hard to shake. Oh, and I absolutely adore the opening credit montage with the still photos – such a great way to immediately grab the viewer.

1

Tombstone: A Review by Nate Hill 

There are two main film versions based on the life of infamous outlaw Wyatt Earp: a serious, sombre one with Kevin Costner (and a whole lot of others), and a rolkicking circus sideshow starring Kurt Russell, bedazzled with a jaw dropping supporting cast that doesn’t quit. Both films are great, but if you held a six shooter to my head and demanded a preference, I’d have to give Tombstone the edge. It’s just too much fun, one wild screamer from start to finish, filled with swashbuckling deeds, evil outlaws and bawdy gunfights galore. It should have been called It’s A Mad Mad Mad Mad World In The Wild West. Kurt Russell is in mustache mode again here, but looks younger and leaner than last year’s western double feature his mutton chops starred in. Along with his brothers Virgil (Sam Elliott) and Norman (Bill Paxton) he arrives in Tombstone with a life of law enforcement in his dust and designs on retirement and relaxation. He gets pretty much the opposite though, when every lowlife bandit and villain in the area comes crawling out of the woodwork to give him trouble. Michael Biehn is the worst of them as crazy eyed Johnny Ringo, a deadly smart and ruthless killer, and Powers Boothe hams it up terrifically as drunken scoundrel Curly Bill Brocius. They are the two main causes of grief for the Earps, backed up by all sorts of goons including Michael Rooker, Billy Bob Thornton and a petulant Stephen Lang as Ike Clanton. Russell is joined by an off the wall Val Kilmer as Doc Holliday, the wheezy southern prince with a silver tongue that’s constantly fuelled by booze. He gives the best work of the film, and it’s fascinating to compare it to its counterpart, Dennis Quaid’s turn in the other version. Theres also great work from Billy Zane, Dana Delaney, Thomas Haden Church, Paula Malcomson, Tomas Arana, Johanna Pacula, Paul Ben Victor, Robert John Burke, John Corbett, Terry O Quinn, Robert Mitcham and even Charlton Heston good lawd what a cast. The standoffs, both verbal and physical, are a thing of beauty and the reason we go to the movies. Of all the westerns out there, this has just got to be the most fun. It’s constantly alive, there’s always something going on, a cheeky glint in its eye and a vitality in every corner of every frame, like a kid that won’t sit still. Russell is a champ as Earp, a no nonsense killer, plain and simple, but a man of both style and charisma, two weapons that are equally as important as his side arms. Kilmer gets all the best lines and goes to town with his portrayal, creating electric tension whenever he faces off with Biehn, who is equally mesmerizing in a more intense way. The three of them kill it, and along with the howling mess hall of a supporting cast, make this simply the liveliest western I’ve ever seen in the genre. 

THE WALKER – A REVIEW BY J.D. LAFRANCE

07walker-600

After dabbling briefly with a major studio with Dominion: Prequel to the Exorcist (2005), writer/director Paul Schrader returned to the relatively safe confines of the independent film scene with The Walker (2007). This film continued his fascination with loner protagonists ostracized by their profession as examined in American Gigolo (1980) and Light Sleeper (1992), or by their worldview as in Taxi Driver (1976).

Carter Page III (Woody Harrelson) is a popular socialite who works as a confidant, companion, and card player to the wives of politicians in Washington, D.C. – a professional “walker,” a term coined for Nancy Reagan’s companion when she was First Lady. Carter is the epitome of the Southern gentleman. He plays a weekly card game with three women as they gossip and tell stories complete with salacious details about the denizens of Capitol Hill. Carter is finely groomed and impeccably dressed with only the finest suits, living in a beautifully furnished place.

With the stories Carter tells his dates, he hints at a rich backstory but he is careful not to reveal too much about himself. While waiting for Lynn Lockner (Kristin Scott Thomas), one of his dates, to meet up with her lover, she comes back in shock. Her lover is dead and she asks Carter to keep the incident quiet. Of course, he decides to get involved (he knew the victim). Carter used to trade in juicy gossip and now he has become the subject of it. It doesn’t help that he lost considerable money on an investment that the victim advised and this gives the socialite a motive. As a result, he decides to investigate the murder using his own insider contacts and uncover a few dirty secrets that people in positions of power don’t want revealed. His efforts to clear his name become more urgent once the Feds apply pressure thanks to a particular nasty agent (William Hope). Pretty soon, events conspire against him and Carter becomes the prime suspect.

Woody Harrelson disappears into the role affecting a flawless accent and does an excellent job with Schrader’s witty dialogue and distinctive cadence. Every few years between amiable comedies Harrelson gets a juicy dramatic role to sink his teeth into and showcase his acting chops: Natural Born Killers (1994), The People vs. Larry Flynt (1996), and now this film. Schrader’s screenplay, as you would expect, snaps and pops, especially the scenes where Carter and his companions banter and gossip. It doesn’t hurt that he has the likes of Lauren Bacall, Lily Tomlin, and Kristin Scott Thomas delivering it. The Walker is a fascinating inside look at a subculture that exists in Washington, D.C. under the auspices of a murder mystery. It shows to what lengths politicians will go in order to protect themselves and their dirty secrets. Schrader has crafted a smart thriller with interesting characters that is driven by a well-plotted story and not a bunch of noisy, hastily edited action sequences.

COREY ALLEN’S THUNDER AND LIGHTNING — A REVIEW BY NICK CLEMENT

thunder_and_lightning

Thunder and Lightning is exactly what the amazing one-sheet promises — tons of backwoods idiocy with chases galore and all sorts of redneck hijinks leading the way. Produced by Roger Corman and directed by Corey Allen, this zippy and ramshackle B-movie from 1977 (it was released as the second half a double bill with The Driver) benefitted from the filmmaker’s total sense of gonzo energy, a frequently witty script, and game performances from the entire cast, lead by David Carradine as a Florida moonshine runner who runs up against rival bootleggers, and crosses paths with a buxom bombshell (Kate Jackson) who has personal ties to the baddies. The film’s big speed boat chase is undeniably impressive and rather dangerous looking, as are most of the vehicular stunts, of which there are a ton. Mix in trigger happy local cops, throw in a dash of alligator wrestling, sprinkle the proceedings with some explosions, and splash it all with a boozy sense of fun, and you’ve got this scrappy little B-movie that makes for a rowdy late night selection to enjoy with some pizza ‘n beer. The film’s screenwriter, William Hjortsberg, would go on to craft the script for Ridley Scott’s Legend, as well as the book which would serve as the inspiration for Alan Parker’s Angel Heart. The film marked the final big-screen credit for the prolific actor and voice-artist Sterling Holloway (Dumbo, Alice in Wonderland, The Jungle Book). Available on DVD (at a very expensive price), Amazon streaming, and on YouTube.

PTS Presents SHITTY AMAZING SERIES Episode 2

shitty amazing CR

There really isn’t too much to say about this gem from 1994.  Move over, PULP FICTION, Michael Ritchie directed Chevy Chase, Jack Palance, Diane Wiess, and Robert Davi in this glorious National Lampoons knock-off, COPS AND THE ROBBERSONS.  Enjoy this ten minute chat of giggling.

KEN ANNAKIN’S SWISS FAMILY ROBINSON — A REVIEW BY NICK CLEMENT

3

Ken Annakin’s Swiss Family Robinson, released in 1960, was one of my absolute favorite movies to watch on VHS when I was growing up, and upon a recent revisit, I was reminded of how enjoyable this film is, and how it’s one of the most violent family films ever made. Seriously – killing bad guys is treated like a family event in this film, a sort of sport, with everyone getting in on the action, including good-old Mom! Coconuts are turned into improvised hand-grenades, massive logs and tree trunks are used to roll over henchmen, swords and muskets are busted out at a moment’s notice, while a general air of smiling menace hangs over the entire film. A splendid cast including John Mills, Dorothy McGuire, James MacArthur, Janet Munro, Tommy Kirk, and Kevin Corcoran made the most out of each role, while the stranded on a deserted island plot line allowed for all sorts of shenanigans and pratfalls.

2

Harry Waxman’s full bodied cinematography is sensational, while the film itself was the first widescreen Disney movie shot with Panavision lenses, as the company had predominantly used matted widescreen or CinemaScope as their preferred photographic process. Filmed on location in Tobago and London’s Pinewood Studios, Swiss Family Robinson does truly feel epic at times, with lots of extras, huge ships, big action set pieces on shore and at sea, while the film never lost track of some of the smaller details that make this one better than you might remember. William Alwyn’s robust score was the cherry on top of the sundae. The film would become a huge financial success, grossing $40 million off of a $4 million budget, and that was back when money was real.

1

An Excerpt from Conquest of the Planet of the Tapes: Straight to Video III, Commentary by Todd Farmer.

This slideshow requires JavaScript.

My first video game was Pong. I was not a fan, even though it was ground breaking at the time … boring.  I can remember riding my bike three miles to the local Wal-Mart to play Asteroids.  Atari, Commodore 64, I had them all.  But video games weren’t my only love.  There were also comic books and movies.  I wish I’d kept all of the old comics by the way – and the GI Joes – and the Evel Knievels.  But alas, I was in a rush to grow up.  As for movies, they existed in the theater and what you saw on TV or free HBO weekends.  But as a founding member of Generation X, I saw the birth of the VCR.  And later I attended its funeral.

The VCR changed everything … because we could record. We were no longer at the mercy of theaters or TV schedules.  Record and re-watch.  It was brilliant.  But what if the movie you wanted to see wasn’t on TV to record?  That too would change.  Although this was ten years before the first Blockbuster, mom and pop video rental shops spread like a small town virus.  Rent, watch and take it back!  The VCR was to movies what the internet became to information.

The VCR revolutionized the “sleepover.” Friends and pizza and a VHS of family friendly movies like 9 TO 5 or XANADU … until that was … mom and dad when to bed. Then we’d quietly pull out THE SHINING, CHEECH & CHONG, FRIDAY THE 13TH, THE FOG, CADDYSHACK,THE OCTAGON, USED CARS, MAD MAX … it was a cultural awakening.  And by the way, those are just movies released in 1980.  Every year presented us with a treasure trove of movie magic … all in the comfort of your own home.

And shall we embarrassingly speak of the sexual awakening? This was before Skinamax.  Before the Internet, before our parents were ready to talk the birds and the bees.  Does anyone actually use that term these days?  Doubt it.  Point is, we learned about sex from the VCR.  ANIMAL HOUSE, PORKY’S, FAST TIMES AT RIDGEMONT HIGH, PRIVATE SCHOOL, MY TUTOR, SPRING BREAK, REVENGE OF THE NERDS, SIXTEEN CANDLES, BACHELOR PARTY, POLICE ACADEMY, and every slasher that came out in the 70s and 80s.

We could record movies from TV, rent, buy and then there was the boom in home videos. With a camcorder the size of a small refrigerator, we could make our own spy movies and play them back for friends on the VCR.  Or record our high school band slaughtering the vocals on Boston’s More Than a Feeling.  I have an old VHS of my smashing performance as Frederick in the Pirates of Penzance.  I also have one of my stretching to catch an end zone pass while dragging my toes.  6 points.  And for those fearless few who felt confident no one would ever find and watch their hidden VHS tapes, there was homemade porn.  Eh… I may have been guilty once or twice.

OH! And let us not forget those rare, oft-forgotten VHS surprises you simply didn’t see coming.  I remember crashing at a buddy’s house; he was snoring and I couldn’t sleep so started scanning his VHS shelf.  He had FRIGHT NIGHT!  I popped it in the VCR and sat back to enjoy some Roddy and team… um.  It was porn.  Although official studio released movie tapes were “protected”, we’re not talking about breaking into the CIA here.  There was simply a tiny little plastic chad that when “popped” out, meant any tape could be recorded over with anything you wanted.  We all did it.  Instead of buying blank tapes, just grab a purchased movie that you either hated or no longer watched, pop the chad and bingo, you were recording JAWS from HBO!  That said, why anyone would tape over FRIGHT NIGHT… blasphemy!

Also let us not forget the impeccable durability of the VHS tape. We’re talking plastic cases made by the lowest bidder to protect roughly 570 feet of remarkably flimsy and utterly unrecyclable Mylar.  With each play the tape would degrade slightly.  If you were recording over said tape, then the degradation was even higher.  You were lucky if they lasted 10 years, and it wasn’t uncommon to eventually end up with VHS tracking lines: those thin, white horizontal lines at the top or bottom of the screen – sometimes both.  You could pop the VHS out and try to spool tighter.  Sometimes that worked.  More often it did not.  The fancier VCRs had a tracking adjustment but once those lines started… the end was near.  So, no – not really durable, but … at the time it was all we had.  And we were blessed to have it.

Laser disks gave the VHS a scare but the high price kept them out of the everyman and woman’s homes. But once DVDs appeared on the scene, the offer of better quality, more storage and longer shelf life meant the looming end of the VCR and VHS.  Although you can oddly enough still find the DVD/VHS combo on the market if you desire.

The last VHS I bought was actually a three pack. It was 1997 and I purchased the Star Wars Special Edition Trilogy.  And strangely enough they are the only studio VHSs remaining in my possession. In fact, I can see the set from here, on a shelf next to my Stephen King books.  I loved the VHS era.  It was a big part of my growing up.  The movies that inspired me to seek out the business of Hollywood were movies I viewed over and over on VHS tapes.  If I had a time machine, would I go back, would I live through that era again?  Nope.  Let’s not live in the past.

A Nice day for Superman’s Return by Kent Hill

It was my birthday the day we saw the first Superman hit the big screen after a long absence. I was, as was my station in those days, in the projection booth putting a movie together and placing it on the platter ready for threading. These were the dark ages you understand, when film still passed through the projector. It was a fine time for me. I was learning to fence, fight, anything anyone would teach me.

The movie I had just finished assembling was Superman Returns. Now, in these times, it is almost impossible, unless you spend your days with your head buried in the sand, not to watch the development of movies from the announcement to the first teaser trailer, from the photos and the ever present prognostications of the obsessives.

I was going to see the movie that night. It was going to be my birthday movie, that was a given, and I had done my utmost not to know anything, or as little as humanly possible about the film prior to what would be my first viewing. There was however, a problem. There was going to be a screening in twenty minutes. The movie was on the platter, threaded, and ready to fly – so to speak.

This during the week, so the crowds were not going to be expansive and the lunchtime sessions had begun. I was threading the other projector when the inaugural screening of Superman Returns started rolling – the first Superman movie in a long time.

For the uninitiated, in the projection booth you can hear the movie, you can see the movie, when everything that you are supposed to be doing is done, you can even sit and watch the movie – that is if you are not bothered by the clattering of the projector in one ear. I didn’t want to hear or see Superman Returns, not yet. But like I said, I was busy on the other side of the room. The last thing I would hear before the credits began was this: “As a courtesy to others, please turn off your mobile phones, and keep your feet off the seats. On your way out, please put your rubbish in the bins provided.”

At least, that’s what I would listen for. Then the trailers roll. You’d splice these onto the head of the film, and at the theatre I worked at, we would tag on trailers of a similar style or genre of the film playing – just to put the audience in the mood. When the trailers roll, it is really the projectionist’s last opportunity to make sure the film is framed up right, the focus is good, the sound is on the level and the automation system has the curtains open and the lights down.

Okay. So I went over and check it, it was my job. The trailers were running smoothly, everything was cool, and I knew what the last trailer was, thus I knew my cue to stick in the earplugs and rock on, busy myself assembling another print while Superman rolled. Then, the phone rang. It was one of the many times I had answered the phone and it was some bozo on the other end, wanting to know what movies were playing, what was worth watching and finally the plots of said films recommended, thus negating the need really, to watch them at all. To each his own, to each his own.

Then, shit. Beautiful spoiler. Before I could get my own private soundtrack rolling, and because of the phone call delay, I heard the movie begin. I heard John Williams. I was excited. I was pissed.

For my own present relief at the time, that’s all I heard, before going back to what I was doing till the film was over, shifted to the bottom of the platter, and the next film was threaded and rolling.

At that point, since I knew my shift was going to be over in time, I thought I would catch the afternoon screening. Buzzing to the point of being annoyingly frenetic, I went down stairs to ask the boss if I could get a ticket for the 4pm. I recall feeling genuinely crushed when I came to the ticket counter and he told me the screening had been cancelled ‘cause no one had showed.

Shit, my inner monologue cried to heaven.

“You’re coming back tonight though, aren’t you?” the boss said.

“Yeah but I…”

“I know, it’s your birthday – birthday movie,” he said, a wry smile on his face.

“Yeah sure it’s that. But it’s Superman for god’s sake. I was one of those kids that tried to fly off the garage roof with my mother’s red table cloth tied around my neck,” I wasn’t lying.

“How’d that work out for you,” he said.

“It didn’t,” I said, “but I still wanted to be Superman.”

The boss was and is a good guy, but I could see, and knew him well enough to know that he was busy with important affairs of state. When he was like that, he was best left alone.

I walked away not saying anything when I heard his voice:

“You know how to run a projector don’t you?”

I turned.

“Yeah,” I said.

“Then go watch Superman,” he said, without looking up.

“Seriously?”

“Happy Birthday,” he replied.

Now I don’t know about any of you; if you’ve been the only person in a theatre on a rainy day, the only person that showed up.

I do know rich cats like Tarantino have their own home theatre set up. But for the little boy in me that loves movies, the idea of walking into a theatre, threading the movie you want to see and being able to sit there, to revel in it without the hindrance of an audience. It’s the stuff that dreams are made of. Did I know how to run a projector? You bet your sweet ass I do.

So for the first time in my cinema history, I walked into a movie theatre, threaded the projector and went and sat alone in the dark and watched a movie on my birthday. And it was a Superman movie.

For the record, Superman Returns is what it is. I know you probably all have seen it by now, and most likely have your own opinions which I shall not attempt to alter in any way, shape or form. I have my opinion too, but that is not what I am writing about here. What I am saying is, for that moment, for that afternoon, I loved that movie. I felt it had all the ingredients, all the reminders of a movie I had seen before. A movie I hold most dear – needless to say that that movie is also a Superman movie.

So though Superman Returns struggles to fit into its cape – for that afternoon it was a great experience – a Superman movie on my birthday. It would happen again several years later. But that’s another story; a story involving Zack Snyder, shit, and the man of steel – much to my chagrin.

Alan Rudolph’s Trixie: A Review by Nate Hill 

What the hell did just watch. Oh boy, what can I say about this one without tearing it a new one. Alan Rudolph’s Trixie is a dud, a paperweight, a misguided, clumsy disaster of the highest order. It has the tonal equilibrium of heart attack on a flow chart, and a troupe of actors who mercilessly embarrass themselves into the ground with work that goes beyond tireless pantomime. It’s sad, because I’ve seen this type of thing work nicely before, with the right amounts of quaint and quirky qualities, but here the mixture tanks in a god awfully messy cannonball of a landing. It tries to be a detective story, but fails to realize that you need some semblance of a  story to care about, and I just…. didn’t care. It’s a slog to get through, a struggle to stay focused on, and basically a big awkward failure on every level. Also puzzling is the fact that cast, all of which are excellent actors who I love in almost everything they do, all made me want to hit them here, and when you’ve got a cast this good, that’s no easy feat. Emily Watson will make you want to tear your hair out as titular Trixie, a casino security guard with aspirations of taking on a big detective case, an irritating Chicago accent and apparantly mild brain damage that causes her to mispronounce every expression, figure of speech and slang term in a fashion that is neither cute nor funny. She’s wooed by Dex (Dermot Mulroney) a goon who works for sleazy land developer Red Rafferty (Will Patton). Soon, through a set of circumstances both inane and cartoonish, they find themselves deep in some sort of backhanded scheme involving murder most foul, tied to a corrupt state senator played by Nick Nolte, who is the peacock of the bunch, sucking all the energy out of the room with dialogue that is literally lifted straight from political speeches from the past. I’m not even kidding, he blusters out platitudes that vaguely have a place in whatever seen is going on, but barely. There’s also a hot young waitress (a bouncy Brittany Murphy), a flamboyant lounge singer (Nathan Lane is excruciating), a washed up pop star (Lesley Ann Down) and a bizarre cameo from Stephen Lang who attempts an accent that made me supremely uncomfortable. It’s weird, cumbersome and altogether pointless as everything it tries: comedy, thriller, romance, whodunit.. all fall miserably flat. Bummer. I’m gonna go make a list of all the things I could have been doing with the two hours I spent on this wreck.

THE SEA OF TREES – A Review by Frank Mengarelli

Gus van Sant’s THE SEA OF TREES is a pulverisingly beautiful film. It takes place within despair, as we’re guided by Matthew McConaughey, who after the death of his wife flies to Japan to kill himself in the Aokigahara Forest, know as the “suicide forest”.

14095820_10101657553072637_3101074635888121368_n

When McConaughey gets to the forest, he meets a man played by Ken Watanabe who is wandering with his wrists cut open and is slowly bleeding out. As the two men pair up, traveling deeper into the forest their hope for survival inadvertently grows.

The film premiered at Cannes and was blasted by critics. Yet again, I find myself falling in love with a “poor” film that has been deemed van Sant’s “worst movie”. Is this film for everyone? No. Is it for the average person Redbox’ing the latest McConaughey disc? Probably not. But you should still watch it.

This is a film that asks a lot of hard questions. A painstaking majority of the film is introspective reflection by McConaughey. What happens to love when it is concretely gone? What is left when life has no more person value?

14102467_10101657553042697_4524413847596352014_n

It is a heavy film told through quiet moments and unromantisized flashbacks between McConaughey and his wife played brilliantly by Naomi Watts. At times, this is a very hard film to watch. McConaughey and Watanabe give equally emotionally charged performances that are draining. Yet, through all the despair and grief we see on screen, the film’s message of survival and hope is effortlessly inspiring.