Candy, released in 1968, is a completely crazy little film that offers up so many odd-ball surprises that it’s nearly impossible to describe the bizarre culmination of all of its psychedelic pieces. Directed by prolific actor Christian Marquand and adapted by the brilliant Buck Henry from the 1958 novel of the same name by Terry Southern and Mason Hoffenberg, the film charts the sexual exploits of an alien in teenage disguise, who wanders from one strange encounter to the next, with danger, satire, and off-the-wall-humor mixed into the proceedings. I’ve definitely not seen anything remotely like this one, which at times feels like a farcical precursor to something like Under the Skin, but of course minus that film’s sense of bracing modernity and serious existential themes. The lead role was taken on by Ewa Aulin, who was a former Miss Teen Sweden, and it can’t be denied that she was most certainly extremely photogenic, and perfectly cable of projecting the blank-slate stare and empty emotional behavior that was no doubt required by the filmmakers.

The supporting cast is just ridiculous, with every single actor behaving in a maniacal, over the top, or oddly threatening manner which increases the strangeness factor; look out for Marlon Brando (as a phony Indian guru!), Richard Burton, James Coburn, Walter Matthau, Ringo Starr, John Huston, John Astin, Charles Aznavour, Elsa Martinelli, and Enrico Maria Salerno, with cameos from Sugar Ray Robinson, Anita Pallenberg, Buck Henry as a mental patient, and many more. Dave Grusin’s groovy music sets the stony-acid-retro vibe, Dean Tavoularis’ funky art direction adds lots of flavor, and the too-cool cinematography by Giuseppe Rotunno keeps everything visually interesting and distinctive. Kino-Lorber released Candy on Blu-ray last year, and the picture and audio quality are both strong. There’s also a very funny and informative 16 minute interview with Henry who re-counts the film’s asinine production, as well as trailers, radio spots, and a interview with film critic Kim Morgan. For some reason, I could see Candy playing really well on a double bill with An American Hippie in Israel, or Duke Mitchell’s unintentional masterwork Gone with the Pope.

I was so ready for a hug and to see some smiles from my 20 month old son after viewing Kathryn Bigelow’s devastating and purposefully harrowing docudrama Detroit. Working again with screenwriter Mark Boal (they previously created the one-two punch of The Hurt Locker and Zero Dark Thirty, which are two of the best topical thrillers ever), this time they delve into one of America’s most disgusting chapters of racially motivated violence, the Algiers Motel killings and the 12th street Detroit riots of 1967. After an unexpectedly gripping animated sequence that opens the film and dispenses with some societal context, the film gets right to business, and never lets up for a moment. Bigelow’s highly visceral aesthetic style is in full view during Detroit, with expert cinematographer Barry Ackroyd (United 93, Captain Phillips) get up-close and personal with the actors (everyone in the cast is dynamite) during the vividly staged riot sequences which comprise roughly the first third of the film, putting the viewer smack dab in the middle of the action, with a darting sense of spatial focus that both startles due to its seeming randomness, but feels visually coherent in the best way possible. William Goldenberg’s blistering editing makes every single scene count, with the brilliant sound work (those gunshots sound REAL…) adding further dimension to the stylistic package. This film takes a microscopic look at one event but places it in within a larger contextual sense, one that unfortunately feeds into the future.

On a production level, the film is simply tremendous, and because each performer was fully dedicated to their role, and because every craftsperson brought their A-game, Detroit feels both intimate and epic in the best way possible. Massive kudos for Megan Ellison’s continuous quest to produce (and now distribute) intelligent films made for adults who don’t care about seeing anyone in spandex. People have been complaining that Detroit is “one-note” and that the extended sequence inside the motel goes on for “too long” or that, rather absurdly, Bigelow and Boal “shouldn’t” have made the movie because “they’re white.” I am not going to entertain any of these idiocies with responses; if you can’t figure out that the ENTIRE POINT of the movie is to suffocate you in terrible and grotesque human behavior without full catharsis, well, I don’t know what to tell you. Bigelow and Boal want to force everyone – black, white, brown, purple, etc – to confront the vile thought processes that informed the senseless and pointless killings in that motel. This is the reason why Detroit exists – to outrage and to make links to our current society where African Americans continue to be targeted by certain law enforcement officers for crimes they didn’t commit. In our appalling Trump era, this film means even more than it ever could mean, so I guess it’s no surprise that the vast majority of ticket-buyers turned a blind eye to Detroit on its opening weekend.

Detroit is frustrating, and compelling, in the same way as David Fincher’s Zodiac in that there’s no emotionally satisfactory ending, and both Bigelow and Fincher, in their respective films, ratchet up the anxiety and never stray too far from the facts of the situation. In many respects, and rightfully so, Detroit, also like Zodiac, resembles a tightly constructed horror film, because, let’s be honest, the situation that unfolded in that motel was nothing short of horrific for the people being terrorized and murdered. It was Bigelow and Boal’s bold decision to be fully unrelenting with their approach, and I applaud them for it, even if it meant that the filmmaking made me upset and uncomfortable.  I totally understand, accept, respect, and embrace poetic license on the part of filmmaker, and conjecture when needed. It’s abundantly clear that Bigelow and Boal did their research, and since the story that they’re telling has no happy ending, I’m glad they didn’t try to manufacture something that would have felt false. This movie is supposed to knock the wind out of you (I felt gut-punched walking out of the theater) and it’s supposed to make you angry (this is a very grim and volatile piece of work that rarely offers any easy answers). I’m sure I’ll see other films that will entertain me more this year, but I doubt I’ll be as galvanized by any one piece of storytelling the way I was with Detroit.

In their continuing series, Kyle and Ben sat down this week to discuss their five favorite Kathryn Bigelow films.  When you’re simmering over the controversy that is sure to arise from her latest film Detroit, reflect on this journey through her earlier works.

Near Dark

BEN: It’s funny.  I hadn’t seen this film prior to this year, but I’m glad I got to experience it on a theater screen.  Bigelow’s take on vampires is every bit as fun as Schumacher’s The Lost Boys.  Where Schumacher intentionally brought in a sexual overtone, Bigelow demonstrated her action chops while managing to combine a dramatic story.  Her characters feel real, thanks to her relationship with James Cameron.  Many of the actors he successfully used in prior films make an appearance here including Lance Henriksen, Jeanette Goldstein, and Bill Paxton.  Their respective performances really drive the dangerous side of vampirism.  Adrian Pasdar is Caleb, who unfortunately falls in love with Mae (Jenny Wright) and as their love grows deeper, Mae’s dark secret comes to light.  Tim Thomerson, who made a splash in smaller movies like this, plays Caleb’s dad.  His relentless concern is really the driving force in this film.  I thought it was a lot of fun to see Thomerson and Henriksen square off in the finale.  The film is dated and cheesy, but it cemented Bigelow’s status as a cult-action director with interesting stories to tell.

KYLE: I don’t think it’s cheesy so much as a product of its time.  Bill Paxton gives one of the best performances of his career in this.  I love how it fuses the western genre with the bloated vampire catalogue to create an unforgettable experience.  It’s also shot remarkably well given the time.  One of my favorite parts is that the word “vampire” is never said, yet the viewer instantly knows that this is a vicious band of predators.  This was also Bigelow’s feature debut and it is the template for all of her films.  She’s a filmmaker who is interested in relationships and characters, and how the often overlooked ingredients are usually glossed over in favor of spectacle.  It’s what makes Near Dark work so well.  My only complaint is that the finale is a tad…abrupt given the setup, but regardless, this is a cult classic for all time.

Point Break

BEN: I was too young for this movie, but the allure of this film was just overwhelming.  It still is.  Based on W. Peter Illiff and Rick King’s story, Bigelow’s action sense combined with dramatic tension truly drive this poetic cult classic.  Where she tried to bring in a troupe of actors in Near Dark, here she starts fresh with Keanu Reeves, Patrick Swayze, Gary Busey, and Lori Petty.  The story is amazing, Donald Peterman’s cinematography is truly unmatched as he had to combine a wide range of shots from aerial jumps to bank heists and a lot of foot chases with handheld cameras.  As dramatic and action-oriented as the film is, it is just plain fun.  The actors all looked like they had a blast, especially Gary Busey:  “I don’t know why the agency has to have me train some snot nosed quarterback punk named Johnny Unitas.”  I could go on gushing, but you get the idea.

KYLE: Quintessential 90’s action.  The homoerotic (over)undertones are pure bliss.  I think one of my favorite things is the aesthetic.  Bigelow takes the surfer, California subculture, and builds it into a living organism.  I love how she takes classic crime and noir tropes and updates them for the 90’s.  It is also a testament to her skill how she is able to use both Reeves and Swayze’s well known flaws to her advantage.  This is a wonderful example of a director understanding the limitations of her cast and using them as strengths.  Busey is the standout, bringing his usual captivating insanity to bear and his performance is wonderful throughout.

Strange Days

BEN: Before Virtual Reality exploded, Bigelow gave us Strange Days.  I hate to say this, but I don’t remember the movie very well.  I know I saw it when it first came out on home video and I know that the cast is a veritable who’s who.  I remember it being a bit noir-ish in its Sci-Fi approach.  Ralph Fiennes really lit the screen up while Angela Bassett just drove the story.  I also remember Matthew Leonetti’s camerawork, especially the POV shots during the SQUID sequences.  This was Bigelow’s biggest commercial failure at the box office and from what I understand it nearly derailed her career.  I guess I need to see it again.

KYLE: I think this is Bigelow’s greatest film.  The entire intro sequence is some of the best camerawork I’ve seen in her films.  It is most definitely a neo-noir and probably the best science fiction noir since Blade Runner.  I also see a lot of parallels with Detroit, which I’m screening tomorrow.  Fiennes is just outstanding as the underdog and I love how there’s not a lot of action.  His chemistry with Bassett is remarkable, and as you mentioned, she’s the center of this formidable machine.  Juliet Lewis and Tom Sizemore are also amazing additions, with some of the best performances of their rocky careers.  It’s also a great dystopian film that is extremely relevant of the current climate in America.

The Hurt Locker

BEN: As with James Cameron, Bigelow started to form her own troupe of actors, namely Anthony Mackie and Ralph Fiennes.  She also would continue to use real-life situations, as she did in Strange Days, to influence her future narratives.  And, thus we begin her working relationship with Mark Boal, a freelance journalist who used his real-life experiences to write the script.  Set during the Iraq War, The Hurt Locker features Jeremy Renner, David Morse, and Guy Pearce as part of an Explosive Ordnance Disposal team who are trapped by insurgents.  Boal’s story and Bigelow’s direction focus on the psychological trauma which results from the stress of combat.  The film would go on to win best director for Bigelow and best picture for the film, a distinction that Bigelow holds as the first and only woman to have won both.  Barry Ackroyd’s cinematography firmly places us in the middle of the action without losing the sense of perspective.  It’s been awhile since I’ve seen this one too.  I guess I’m due for a revisit.

KYLE: My favorite scene is when Renner and Mackie are trapped by snipers and Mackie is on the Barrett.  When Renner gives him the capri sun to drink, virtually ending their feud through an act of camaraderie is something you don’t see often in war films.  That is the genius of this film.  On the surface it’s a war film, but truly, at its heart, it is about the trauma that our armed forces experience every day when in combat.  The cinematography is outstanding.  You are, as you mention, right in the thick of things.  I remember not breathing for the duration of my screening and I was thinking about the film, about its implications on modern warfare, for days after.   While it’s not my favorite of hers, I think it might be her best made film.

Zero Dark Thirty

BEN: And this is why I enjoy these conversations, Kyle.  Your insight into these films is spectacular.  Our final film is a doozy and it created such a firestorm over its authenticity with the federal government at the time of its release that Julian Assange probably could have leaked it and it would have attracted less attention than Bigelow received for Zero Dark Thirty.  Again written by Boal, who used information he had gleaned from a speech given by former CIA director Leon Panetta during a ceremony is the story of a fictional CIA agent played by Jessica Chastain who is on the hunt for Osama bin Laden after gaining new intel which spurred on the real-life incursion which brought the Al-Qaeda Emir down.  Jason Clarke, Joel Edgerton, James Gandolfini, Edgar Ramirez, Mark Strong, and Kyle Chandler co-star.  Greig Fraser’s cinematography in the desert is amazing as are his nighttime shots, especially the hand-held action during the final raid.  Thirty represented Megan Ellison’s first major production credit as her Annapurna Pictures independently financed the movie.  This film created quite a controversy with audiences as well, but it was well-received and was recognized with Bigelow’s second directorial Oscar nomination.  Chastain would win the Best Actress Golden Globe and cemented her work in A Most Violent Year, Interstellar, The Martian, and last year’s spectacular Miss Sloane.  She is as tough as they come.

KYLE: I think Jason Clarke was robbed of a supporting nom.  His scene with the monkeys is heartbreaking, and a simple, quiet symbol of the madness of covert warfare.  Chastain is cold, but intimidating in every scene.  I love how the entire film is an extended procedural, with the payoff being the hand held madness of the compound raid.  Hand held apparently plays a big part in Detroit, and I can’t wait to see it.  I think the aspect of this one that works so well is how it is very removed.  Outside of the chilling intro, with actual calls from victims in the towers, the entire film is sterilized; presenting a possible narrative on how the most wanted man in the world was captured.   This is Bigelow at her finest.  Meticulous, artful control and searing, unapologetic presentation.

BEN: Thank you for the amazing insight, Kyle.  A pleasure as always.  Next week we celebrate the life of Jeanne Moreau and a special review of Jaques Demy’s The Umbrellas of Cherbourg.

KYLE: I’m looking forward to it!   Also, a shout out to K-19: The Widowmaker.  While it didn’t make the list, it’s a fun film for sure.  See you next week!

I could watch the hysterical comedy The Freshman any day of the week; it’s just one of those comfort-zone comedies that hits its targets, doesn’t over-extend itself, and knows how to land joke after joke with sly comic timing from everyone in the stacked cast, most especially Matthew Broderick and Marlon Brando, in what’s easily his funniest performance outside of The Formula. Written and directed by Andrew Bergman (Soapdish, The In-Laws, Blazing Saddles, It Could Happen to You, Honeymoon in Vegas, Striptease), The Freshman was released in 1990, and was a solid hit with both critics and audiences, but I get the sense that this one really caught on in the Blockbuster-era. It also looks very handsome because William A. Fraker was calling the shots as cinematographer, and he basically did nothing but excellent work his entire career. Also, TriStar Pictures POWER and scene-stealing Bruno Kirby POWER. And let’s not forget about that damn Komodo dragon! And honestly, it’s worth repeating – Brando is a RIOT in this movie, cleverly sending-up his immortal role from The Godfather, with everyone in the cast totally in on the joke and running wild with it. If you’ve not seen this one in a while, it’s definitely worthy of rediscovery.