In 2008, horror-thriller maestro Eric Red (Bad Moon, Cohen & Tate, Body Parts) released his nifty chiller 100 Feet, which stars a beyond intense Famke Janssen. This is one of those classically told ghost movies that isn’t afraid to get bloody and nasty (no surprise given the filmmaker’s previous genretastic output!), and at the risk of spoiling the wicked fun, I’ll simply allow that the narrative pivots on a woman under house arrest (Janssen) who becomes terrorized by the demonic spirit of her abusive husband (Red favorite Michael Paré) who she killed out of self-defense. Co-starring Bobby Cannavale, Ed Westwick, Patricia Charbonneau and Kevin Greer, this is a straight-up, effective, gruesome-at-the-finish thriller (seriously, the end set-piece is all sorts of messed up and wildly horrific) with a terrific lead performance from Janssen, who in movie after movie has proven to be highly capable of delving into any role in any genre and running away with her part. She’s sexy, she’s vulnerable, she’s got an edge when needed, and because Red’s focused screenplay keeps her at the center of all the action, you invest heavily in her character. There’s an affecting psychological angle to the proceedings too, with Janssen’s character going through all sorts of mental anguish over the off-screen actions that have landed her under house arrest, and because she’s in virtually every scene of the film, you become all the more attached to her and her precarious situation. 100 Feet works as well as it does because Red understands the value of true suspense, and then when his big moment of shocking violence occurs, the impact is made all the more startling because of how well placed and timed the scares are. While shot on a low budget, there are some nifty bits of gore involving the ghostly spirit, and in a fun secondary role, Cannavale brought just the right amount of antagonism to his part of a disapproving cop who has to keep tabs on Janssen. Let’s hope that Red has more juice left in the cinematic tank because his brand of hardcore cinema needs a major resurgence.
True Detective 2.5 OTHER LIVES
“I try and limit the people I can disappoint.” – Ray Velcoro
Two months have passed since the blistering shootout close of last week’s episode. The characters have all moved on, trying to reinvent themselves. Vince Vaughn has now sunk to where his character presumably was months, maybe even years before the show started. He’s nowt living in the suburbs in a small house and being driven to a bar he currently runs. Colin Farrell shaved off his Sampson mustache and now works for Vaughn as an enforcer. Taylor Kitsch is moving ahead with his charade engagement and McAdams is now smoking cigarettes and ditched the e-cigs.
The big revelation in this episode was family. It took five episodes for it to sink in, but the three detectives come from terrible places. Affliction parades over all of the main character’s souls . Whether it is Farrell’s drunk and racist cop father, or McAdams’ free loving, inner-self father or Kitsch’s drunk and tarting mother; all three of them escaped where they came from and tried to live their own lives, but always in the shadows of their former selves. And then it struck me during the formation of the secret investigation they got wrangled into. The only place these three belong are with each other. There is no other family for them in this world. They accept and understand each other’s plights, and speak fondly of one another. Acceptance is something that the three detectives desire the most, and with each other – that completely achieve that.
The big reveal this episode was that Vaughn gave Farrell the wrong information on the man who raped his ex-wife, in order to put Farrell in his pocket. Sometime between the fourth episode and the fifth, the actual rapist was caught unbeknownst to Farrell, until he was told mid episode. This sent Farrell into a path of self-righteous destruction, beating down Rick Springfield’s creepy doctor to get information about the sex parties, uncovering a blackmail scheme that shined a lot of light on the mysteries of the season. Something happened after Farrell got the information from Springfield, he lunged towards Springfield and the camera cut away to a new scene. What happens after the cut? Does Farrell beat him to death?
The episode finishes strong with Vaughn and his wife in bed, in a good place. They were open and honest with one another about who they are and what they want, and came to the realization that they love one another, regardless of how far Vaughn has fallen from grace and whatever his wife’s struggles were prior to their marriage. Farrell shows up, banging on Vaughn’s front door. Vaughn answers. Farrell can barely contain his rage of being strategically misled by Vaughn. He’s shaking, he’s grinding his teeth. Vaughn is at a standstill, unsure of what happened to Farrell and what his intentions are. The camera cuts back to Farrell. He’s stone cold. Not moving. In that moment, Farrell has made up his mind that he is going to kill Vaughn. Give Collin Farrell the Emmy, Golden Globe and Screen Actors Guild award now. Same goes for writer/creator Nic Pizzolatto. He is a literary genius.
Blue Steel is a tough, no-nonsense, solidly entertaining 80’s cop film bolstered by Kathryn Bigelow’s heightened sense of kinetic, stylish direction, all the more strengthened by the crisply efficient and downright nasty screenplay co-written by Bigelow and Eric Red (The Hitcher, Near Dark, Cohen & Tate). Released in 1989, the film received solid reviews from critics but failed to make a big impact at the box office, which is a shame because it’s the sort of police yarn that rarely gets made outside of TV procedurals these days — the stripped down cop story with zero pretensions and all sorts of gritty integrity. Shot by future Michael Bay and Zack Snyder cinematographer Amir Mokri and fully utilizing that glorious old-school slow-motion technique, Blue Steel has that awesome, oh-so-80’s slick-and-gritty feel, made popular by the likes of Bigelow and craftsman like Tony Scott and Renny Harlin. Starring Jamie Lee Curtis as a female officer who has to contend with a serious psychopath (played with devilish relish by the late Ron Silver), the film has a fantastic supporting cast including Clancy Brown, Tom Sizemore, Richard Jenkins, Kevin Dunn, Philip Bosco, Elizabeth Pena, Matt Craven, Mike Starr, and Louise Fletcher. Brad Fiedel’s score is incredible, amping up the tension in almost every instance; he’d later go on to score Terminator 2: Judgement Day and True Lies. The film gets very intense, exploring dark sexual violence (later glimpsed in Bigelow’s Strange Days) through the prism of a backwards love story, and the various bloody shoot-outs have that R-rated heft that’s so clearly lacking in most modern action films. Red and Bigelow’s script steers clear of moralizing, presenting a black and white world of good vs. evil and I’ve always loved the gripping sense of resolve that Curtis’ character brought to the narrative; she’s a woman of action, and no matter how beaten down, she’s not going to stop until she gets her man. The German import Blu-ray, it should be noted, is Region Free, and offers an excellent picture transfer and audio upgrade.
I’m a cat lover, so I was naturally intrigued by the poster for the offbeat and totally unique micro-budget indie Goliath, which was released in 2008 by the Zellner Brothers, with David writing and directing and his brother, Nathan, handling producing duties. The film tells the story of a nameless man (played by David Zellner in a wonderfully strange performance) who is finalizing his bitter divorce (“It was just two fingers!” POWER) and is struggling with the fact that his cat, the titular Goliath, has gone missing. In an effort to recover his lost kitty, he sets out on a desperate search all around town looking for his buddy, while also getting tangled up with a local sex offender, naturally equipped with a voice-box(!), who may or may not have something to do with the missing cat. This is a very funny, frequently asinine little film that runs a quick 80 minutes and offers up some truly inspired bits of inspired lunacy. There’s some strange violence in the final act, with some awesome mental flip outs on the part of Zellner’s coming-apart-protagonist. It’s a priceless performance, down to the finely manicured moustache, and the way he interacts with people in this film can only be described as awkward at best if not entirely bizarre. There’s also an undercurrent of dark rage that pops up throughout the narrative, resulting in some wild tonal switches in the narrative. Willfully distinctive, frequently hilarious, and all together unclassifiable, Goliath is quirky movie that marches to the beat of its own drum.
Trainwreck is yet another consistently funny movie from the Judd Apatow factory, but this time, he’s not the on-screen credited writer – that distinction belongs to fearless star of the moment Amy Schumer, who more than proves she can play in the vulgar big leagues of the polished studio comedy. There’s nothing revolutionary about the narrative – it’s the same story you’ve see in countless romantic comedies, except this time, the norms and expectations are reversed and upended to some degree, with Schumer’s bracing sense of sarcastic deadpan on total display all throughout. She’s matched perfectly by Bill Hader, who is a comic genius in my estimation; his timing is virtually peerless and he’s able to elicit laughs just by being in a room. There are a FLOOD of hysterical cameos from a roll call of actors, celebs, and sports stars, with Lebron James and John Cena both getting HUGE laughs and the lovely Brie Larson doing the dramatic lifting as Schumer’s more responsible sister. If you’ve seen the ads, you know the film revolves around a promiscuous and socially rebellious woman (Schumer) who finally meets her match in the form of a sports physician (Hader) – there’s a “meet cute,” some montages, some arguments and misunderstandings that need be cleared up – but the way that all of it plays out has a great sense of heart and a near constant sense of aggressive humor and charming spirit. And I will say, Schumer does deliver in her few dramatic moments, grounding the piece with a level of emotional believability that counterbalances some of the over the top aspects to the horseplay. Apatow has also always been a comedy director who actually CARES about how his films look; Jody Lee Lipes’ 2.35:1 cinematography is pleasantly pleasing without ever being flashy, as his work also demonstrated on Afterschool and Martha Marcy May Marlene. And I’d be remiss in mentioning MASSIVE Tilda Swinton POWER as Schumer’s over the top boss – who knew she was that hot?! The finale is well conceived, the laughs are nearly endless either in an out loud or quietly-to-yourself manner, and it’s hard to resist a movie that has an awesome male-on-female oral-sex joke right at the top of the narrative. Also, lots of Dave Attell and Colin Quinn POWER.
We are pleased to be joined by Joel Copling of Joel on Film, who is a great friend of Podcasting Them Softly’s. We discuss Steven Spielberg’s masterful MINORITY REPORT as well as the top five performances of Tom Cruise and Samantha Morton!
Podcasting Them Softly is extremely excited to present a chat with independent filmmaker Lynn Shelton, as she discusses her fantastic and eclectic body of work and singular filmmaking style. Over the last 10 years, she’s made six films, all of which have taken on a deep desire to explore people and emotions and the complexities of the human heart and mind. We Go Way Back, My Effortless Brilliance, Humpday, Your Sister’s Sister, Touchy Feely and Laggies have all demonstrated a fantastic ear for the way people speak with an observational shooting style that allows for the expansion of the visual language of cinema. She’s worked with big name actors and little known talents, and no matter the project, her unique voice has been heard loud and clear. We’re honored to have had the chance to talk with Lynn and we hope you enjoy the Lynn Shelton POWERCAST!