Tag Archives: Sam Elliot

Bradley Cooper’s A STAR IS BORN

For a film in its fourth incarnation, Bradley Cooper’s A Star is Born is an endearing and remarkable film that contains every familiar trope, cliché, and prepackaged plot narrative possible. It embraces exactly what it is, it is self-aware with both subtle and tongue and cheek nods to previous versions as well as to the rich ensemble of actors who bring their own homages to their own roles. The film is a triumphant spectacle; it is visually stunning by being shot and crafted with command authority and passion. The musical scenes, which were filmed with live singing, only add to the powerhouse of the film that ushers in urgency to its melodramatic plot. Bradley Cooper’s directorial debut is a beautiful showboat of cinematic achievement.

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The film is stocked with a wonderful ensemble who richly detail their respective characters. Bradley Cooper is the best he has ever been as the washed-up country auteur (not stadium popstar) who is hell-bent on destroying his life with pills and alcohol, as he is rapidly approaching the twilight of his career. He is in limbo between burning out and fading away. Lady Gaga is a marvel in her most mature screen performance to date. While watching her performance, it is insane to think that there hasn’t been a filmmaker prior to Cooper that has tapped into her raw talent and beauty on screen. Sure, her metamorphosis as a live performer is one thing, but her screen presence is something completely different; it is a sight to behold.

Aside from the two showstopping lead performances, Sam Elliot and Andrew Dice Clay are respective counterparts to Cooper and Gaga. Elliot is the older brother who is Cooper’s handler, and the Diceman is Gaga’s father. Both bring their own on-screen gravitas to the picture, Elliot commands the screen in sobering moments as Cooper’s firm-handed father figure while Andrew Dice Clay is the affable and warmly supportive father of Gaga, offering quite a few appropriately humorous moments to the film. Elliot gives one of the finest and most vulnerable performances of his career, while Clay is consistently becoming a formidable supporting player since his scene-stealing performance in Woody Allen’s Blue Jasmine.

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For all the conventionality to the film, it is rather perplexing with its unorthodox self-awareness of the casting of Andrew Dice Clay and Dave Chappelle (who gives a very sweet and touching performance). The musical performances feel genuine. They are photographed with a sense of urgency and emotion by cinematographer Matthew Libatigue (who also shot Sony’s Venom which bested A Star is Born opening weekend at the box office).

Bradley Cooper’s directorial debut is so grandiose, that he has poised himself to be the next Warren Beatty, Clint Eastwood, Mel Gibson or Robert Redford, having the ability to direct himself while creating a magnificent film that will remain relevant for decades to come. When the awards season dust settles, there more than likely will not be a more nominated film, and could very well sweep all the major awards. Regardless of Oscar buzz and cultural momentum, A Star is Born will stand the test of cinematic time and be remembered as a film that is filled with boundless love and passion.

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PTS Presents SHITTY AMAZING SERIES Ep. 1 BLUE JEAN COP

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We’re very excited to present to you our new series of mini-podcasts.  Join us for a twenty minute long chat where we celebrate some of the most SHITTY AMAZING movies in film history.  For our first episode, we’ve chosen a film that we instantly bonded over, BLUE JEAN COP aka SHAKEDOWN.

STEPHEN FREARS’ THE HI-LO COUNTRY — A REVIEW BY NICK CLEMENT

2The Hi-Lo Country is a very unique film, totally under the radar (where’s the Blu-ray?!), made with supreme skill and confidence by an eclectic group of collaborators, and anchored by two fantastic performances by Woody Harrelson and the eternally undervalued Billy Crudup. Set in post-WWII New Mexico, it’s a cowboy film, it’s a Western, it’s a family drama, it’s a romance, and there are more than a few grace notes contained in Walon Green’s poetic screenplay (based on the novel by Max Evans) which provides a lyrical sense of love and sweep for the time period and dusty locations. Directed with a classical sense of proportion and clear-eyed dramatics by the gifted British director Stephen Frears, the film also boasts Martin Scorsese as a “Presenter,” further adding to the name-brand quality of the filmmaking team. The stellar supporting cast includes Patricia Arquette as the woman who falls in love with both of the leads, a crusty Sam Elliot as the chief antagonist who feels right at home in this material, a baby-faced Penelope Cruz in one of her first English-language feature films, and the distinctive actor Cole Hauser in an early (and possibly best) performance as a sketchy acquaintance of both Harrelson and Crudup. Carter Burwell’s familiar orchestral notes lend an interesting aural texture to the film, with Oliver Stapleton’s honeyed and golden widescreen cinematography made excellent use of the vistas and endless desert and open-plain landscape. The film was barely released back in late 1998 (it grossed $166,000!), and curiously, critical reception was more mixed than might have been expected. But over the years, it’s been a film that’s always enticed me back for revisits; there’s just something so different and offbeat about this movie, which while trading off of expected conventions (both visually and narratively), feels like few other modern genre pieces that I can think of. This film is the very definition of a small gem, a work that’s begging to be re-discovered by a more appreciative audience.

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