Let’s Do It Again

Dir: Sidney Poitier, 1975. Starring: Sidney Poitier, Bill Cosby, Jimmy Walker. Comedy/Black Cinema.

What do you get when you mix funk, hypnosis, boxing, hustlin’ and church? You get Let’s Do It Again, starring the Uptown Saturday Night duo Bill Cosby and Sidney Poitier and the ever-hilarious Jimmy Walker, who most know from the TV show Good Times. Apparently, this film is seen as a sort of trilogy with Uptown Saturday Night and A Piece of the Action, but I’ve only seen this one and have yet to blur in other films into its overall plot since it stands up great on its own.

Clyde Williams (Sidney Poitier) and Billy Foster (Bill Cosby) are two friends who desperately want to help their congregation, awesomely named The Brothers and Sisters of Shaka, who are in need of financial aid. In order to keep it from breaking apart, Billy refreshes Clyde’s memory of a time when they harmlessly used Clyde’s solider-derived knowledge of hypnosis to have a little fun and to make him see the advantages of using such a tool to place bets on boxing. The two come to an agreement and take what little money the congregation has in its savings and venture to New Orleans in order to bet on boxers, with the pressing deadline of the congregation's need in mind. There they scout out the most pitiful opponent, Bootney Farnsworth (Jimmy Walker) and hypnotize him into thinking that he is practically invincible. From there they place an astounding bet that Farnsworth will win his match against 40th Street Black. The plan works and the two win boatloads, returning home where they save their congregation and sit on easy street as local heroes, leaving behind angry and street-smart betters who know something fishy has happened.

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Edythe Smith
Mar 22, 2010 6:11pm

Gummo

Dir: Harmony Korine, 1997. Starring: Jacob Reynolds, Nick Sutton, Chloë Sevigny. Cult.

For the sake of argument, let’s agree that catharsis can come from viewing tragedies. We watch movies circulating around slums and the darkest corners of imagination not only to get a clearer understanding of them but also because we come away feeling a little more alive and grounded in our own circumstances. But there is a unique squalor of America not found anywhere else in the world. A sort of squalor of choice or adaptation where people dwell in their own filth and close-mindedness willingly, and with perceptions that someone forced to live in such a way might not understand. So in response to this catharsis, I’ll be the first to admit that Gummo sort of hit me like a drug. Say, heroin for example. I couldn’t quite grasp what was going on, but in the trailer when I heard Madonna’s voice singing, “In the midnight hour, I can feel your power, just like a prayer, you know I’ll take you there…” over cigar-smoking, cat-torturing youth, a boy in filthy bathwater, a tornado and a happy albino woman dancing in a parking lot, I was pulled into a trial run. But since it also induces a fever-like edge of comedy, I’m going to write this review in the form of a mock prescription.

If you like to be pulled out of yourself in order to see the irony and falsehood of the pursuit of the "American Dream," Gummo might be for you. Set in the tornado-stricken city of Xenia, Ohio, it features the lives of two boys, Solomon (Jacob Reynolds) and Tummler (Nick Sutton), who spend their days killing cats to sell to butchers, riding bikes with mismatched parts, sniffing glue, having sex, and philosophizing about life in an eerie way that only a person living in this reality can. Their town is filled with strange and disturbing people who are rooted so deeply in their own bitterness, racism, and boredom that their actions can only be received as a cult-like unison of abandon and self-destruction. Chloe Sevigny plays Dot, who along with her sisters Darby and Helen, occupy themselves with a benign sense of vanity and seclusion similar to Little and Big Edie in Grey Gardens. Not exactly hard to watch, but still strange.

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Posted by:
Edythe Smith
Mar 22, 2010 5:57pm

Deliver Us From Evil

Dir: Amy Berg, 2006. Documentary.

You don’t have to have or understand religion in order to understand spirituality. Most everyone has a source of reason or a spirit of life that feeds our quest for a healthy existence and is the foundation of our morals. Whether it comes from deities or an inner muse, every person who decided to remain a part of this world has their own way of defining purpose. Deliver Us From Evil deals with the corruption of such spirituality in the Catholic Church.

This is a brave and gut-wrenching documentary about the corruption of faith among the youth and families of several parishes in California. It touches on a sickening truth - that some years ago, the Catholic Church re-formed its guidelines which allowed a priest to get married and have children, as the resulting male sons would inherit his assets instead of the church. Now removed from the option of finding romantic adult peers, an alarming number of Catholic hierarchy, many of whom were sexually abused in childhood, now see children as their sexual peers.

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Edythe Smith
Mar 16, 2010 3:52pm

Monster’s Ball

Dir. Marc Forster, 2001. Starring: Billy Bob Thornton, Halle Berry, Peter Boyle, Heath Ledger, Mos Def. Drama.

It is a treat and a privilege to see the work of actors and directors that are versatile and consistent. Director Marc Forster has had an interesting approach to portraying damage within people, families, and romantic relationships. In movies like Stay, The Kite Runner, and Finding Neverland, we can see examples of his attempts to unify an audience with stories and feelings that no one is exempt from. But when Monster’s Ball was presented, featuring an extraordinary cast and controversial subject matter, I was more than eager to see what all the buzz was about. To say that it did not disappoint would be an understatement.

The story seems simple: two strangers meet and become romantically involved. But here is the not so simple part. Halle Berry gives an Oscar-winning performance as Leticia, a waitress who lives on the brink of eviction with her son who has a lifelong struggle with obesity. Her ex-husband Lawrence, wonderfully played by Sean Combs, is within 72 hours of execution on death row. Billy Bob Thornton plays Hank, a corrections officer specializing in assisting prisoners on death row and currently is assisting Lawrence’s last days. He lives with his son Sonny (Heath Ledger), who is also in the same profession, and his father (Peter Boyle) who retired from the same profession. His life circulates with racism, ritual, unease, bitterness, and abuse. The two meet in the most unconventional way when Leticia’s son is struck during a hit-and-run and Hank later witnesses them in distress and escorts them to the hospital where the boy is pronounced dead. From there a consuming and aggressive romance begins to unfold.

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Posted by:
Edythe Smith
Mar 15, 2010 3:59pm

Death Of A President

Dir: Gabriel Range, 2006. Mystery/Thriller.

It goes without saying that during the 8-year term of former President Bush, many activists, parents and the general public alike had little to no trouble expressing their anger and disappointment with the balance and well-being of the United States. Death Of A President, an astounding mockumentary on the successful assassination of President Bush, would then seem to be a sort of outlet in cinema of the events leading to and following the ultimate display of anarchy towards any government. But this is not the message behind this film. If anything, it simply asks that you both pay attention to the policies and laws that govern us as a people, and think twice about taking matters into one’s own hands.

The film opens with a certain anxiety, looking over industrial buildings while listening to an Arab woman’s voice off-screen. The point of her dialogue is to stress consequences. Her husband, Jamal Abu Zikri, is an IT professional of Syrian descent who has become the prime suspect among a line of other Middle-Eastern men in the assassination of the President. She knows he is innocent and cannot fathom how someone could commit such an act without knowing that it might lead not only to the end of the President’s life, but also to the end of government as we know it and the downfall of many other innocent people.

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Edythe Smith
Mar 9, 2010 5:17pm

The Thin Blue Line

Dir: Errol Morris, 1988. Documentary.

Two men are in prison for the rest of their lives. One is Randall Dale Adams, an average man who appears rational, patient, and has had no distinct trouble with the law. The other is David Ray Harris, a young and destructive delinquent on death row after many years of trouble with the law. On November 28, 1976 their paths crossed in an act of gratitude and friendlessness when Adam had car trouble and the then 16-year-old Harris offered him a ride. By morning, a police officer would be shot dead and the trial to decipher which of them is guilty is enough to plot an entire trilogy of thrillers.

Documentaries are a strange breed of cinema, outlined by rules and guidelines set forth in order to produce "cinema-verite." This quest to give the audience "truth" leaves absolutely no room for bias, or theatrics for that matter. That is of course until Errol Morris came through with The Thin Blue Line, a documentary that successfully argues the innocence of a man and eventually leads to his release. After all, once you put a camera up to any situation, you are in some ways distorting truth. Morris simply adds reenactments and colorful visuals to the frame in order to give an appropriate feel to a film documenting a crime and the lousy justice department that attempts to solve it.

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Posted by:
Edythe Smith
Mar 8, 2010 4:55pm

Videodrome

Dir: David Cronenberg, 1983. Starring: James Woods, Sonja Smits, Deborah Harry. Cult.

Let’s revisit the early 1980s. Picture yourself removed from all forms of technology that are now so familiar and seem to endlessly grow. We’re talking Internet, texting, Blu-ray, and even modern day cable television. Now imagine that satellite television is the most exciting concept. Let’s also imagine the thrill of recording and watching something on videocassette. Supposing you are one of the privileged few who has access to this technology, what would you choose to watch? Remember, you’re now able, for the first time, to pull video feed from anywhere with this satellite into your home. How much would you want to devour with your own eyes and in what ways might it change the way you live?

I have something I want you to watch. Its name is Videodrome. Directed and written by David Cronenberg, it is a film with a philosophy about a mind-altering pseudo-program that has a philosophy of its own. James Woods plays Max Renn—the president of a small cable television channel that presents exclusive and mostly erotic content. His idea is simple: allow people to manifest their desires at home and, as a result, keep it off the streets. While working with his assistant he comes across segments of a pirated television show called Videodrome. In short, Videodrome is a near primitive display of unlucky souls who are tortured and/or raped, never to return onscreen. The simplicity and terror of the program is unlike anything he’s ever seen. He wants to share this vision with his viewers, thus beginning a quest to find its source.

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Posted by:
Edythe Smith
Mar 1, 2010 6:35pm

Murmur of the Heart

Dir: Louis Malle, 1971. Starring: Benoît Ferreux and Lea Massari. Foreign.

Some of Louis Malle’s most daring films capture the bewilderment that comes with entering young adulthood. Features such as Au Revoir Les Enfants and Pretty Baby not only guide the audience through the tender and turbulent times of their leading youth, but also deliver a glimpse of the social environment and conditions in which they live. Murmur of the Heart is, in few words, a nuance of intimacy and perhaps a re-working of the Oedipus complex. It follows Laurent—a fifteen-year-old boy whose aristocratic identity and layered personality result in a constantly altered state of mind and lavish exercises in rebellion. Due to his social standing and education Laurent is not your average fifteen-year old, and thanks to the privileges of a lax society and the perspective of older, rambunctious brothers, he has come to think of himself as a young man. The current leading lady in his life is his mother; a beautiful Italian who, like a girl of a much younger age, is constantly impressed and smitten with Laurent’s charm and innocence. Known to his older brothers and surrounding family as "sensitive" and intellectual, Laurent also shares a certain vulnerability to jazz, theft, and women. All of this is put to a halt, however, when Laurent develops a heart murmur and is sent on vacation with his mother to receive treatment. With plenty of free time and leisurely activities, Laurent and his mother grow even closer than before, ultimately leading to displays of affection that must later become secrets, and yet are still handled, by Malle, with delicacy.

For a first-time feature-length actor, young Benoît Ferreux is full of surprises. Laurent’s character is like a balanced mesh of puppy dog and tyrant, which somehow blends to make an odd and highly entertaining finished product. Portraying the unmasked desire by boys of this age and social class to become men is a refreshing alternative to the rough-edged machismo upbringings we often see presented in film. For Ferreux to be able to grasp that concept early and portray it correctly is in itself a promise of the fruitful career that was to come.

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Edythe Smith
Feb 24, 2010 6:01pm

Fat Girl

Dir: Catherine Breillat, 2001. Starring: Anaïs Reboux, Roxane Mesquida, and Arsinée Khanjian. Foreign.

Doctor: " What are you doing here, honey? You’re not even old enough to know how bad life gets." Cecilia: "Obviously, doctor, you’ve never been a 13-year-old girl." -- Sofia Coppola’s The Virgin Suicides

 

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Posted by:
Edythe Smith
Feb 24, 2010 2:05pm

Cries and Whispers

Dir: Ingmar Bergman, 1972. Starring: Harriet Andersson, Ingrid Thulin, Erland Josephson, Liv Ullmann, Kari Sylwan. Foreign.

"In the screenplay, it says that red represents for me the interior of the soul. When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke....But inside the dragon, everything was red." -- Ingmar Bergman

For most of Ingmar Bergman’s career, the decision to shoot in black and white, both before and after Cries and Whispers, has been one of choice and trust. The delight of seeing his vision in color is not simply based on color itself but of his use of it in the film. Like a poet, Bergman decided to look past what color can mean for the eyes alone, to its purpose to help us understand and appreciate life, death, and the soul.

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Posted by:
Edythe Smith
Feb 16, 2010 2:50pm
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