I had seen segments of Liquid Sky ironically being projected or shown at parties that could rival its energy. But a couple of months ago, it was shown at The Silent Movie Theater where a DJ spun the soundtrack and the director and some members of the crew attended and gave a Q&A afterwards. Looking at the film alone, it is obvious that boatloads of extraordinary work went into it, but after hearing the director reminisce about squatting in a building with no electricity or gas and gluing tape reels together in the editing process with the heat and moisture of his thumb, it only painted a bigger picture and allowed me to appreciate it even more.
It seems almost distasteful to mention the plot because the film as a whole must not be defined by it, nor does it fit into your average story of the paranormal. It’s more of an ode to androgyny and feminist expression, and also shows a sort of heroin-chic glamour that would soon become a staple in fashion worldwide. Anne Carlisle plays the roles of a model named Margaret and her rival male model, Jimmy, with excellence and style. Margaret’s roommate and lover is a woman named Adrian (Paula E. Sheppard), a musician of the oddest sort, with a decent following and a knack for some outrageous spoken word. One night while Adrian is performing in a club and Jimmy is hassling Margaret for heroin, a small flying saucer the size of CD player lands on top of her apartment complex. But these are not your average aliens, invading Earth to probe humans or take over. They’ve come to Earth because they desire the energy secreted by human ecstasy. New York, or more specifically Margaret’s building, seems to have a ton of it, thanks to heroin. But upon closer inspection of Margaret, who happens to be a nymphomaniac, they discover a grander source: orgasm.Continue Reading
Jubilee is like a savage Shakespearian play where the past and present are joined in a marriage of destruction; a pas de deux of chaos.
Queen Elizabeth I (Jenny Runacre) is given a gateway by her Lord, John Dee (Richard O’Brian). With his powers he manifests the angel Ariel (David Brandon) who is able to take her from the past into the future in order for her to see the outcome of a world overturned by an absence of rulers and order. Throughout her journey, he acts as a sort of Greek chorus, yielding actions and prophesying bleak ends.Continue Reading
Over The Edge
It's exciting knowing that once upon a time the music of Cheap Trick inspired chaos and teen violence. With the Vietnam War over and lost, Nixon out of the White House and Disco past its apex, what was left to rebel against? In the case of these pot smokin' rock'n & rollin juvenal delinquents it's the closing of the local rec center that gets their panties in a wad. Over The Edge is an amazing relic from 1979, like its East-Coast cousin from the same year, The Warriors, it perfectly captures its period and its only-in-America geography. Instead of the ethnically diverse landscape of the street gang classic this one is an all-white, pre-Spielberg suburban West Coast sprawl, when kids were either jocks or burnouts, but all could agree that school sucked, parents are hypocrites, and cops are fascists. I bet the designers of Dazed And Confused took a look at this film's style. Also it's been said that it inspired Kurt Cobain's teen rebellion opus "Smells Like Teen Spirit."
It also mark the debut for Matt Dillon who would reign over filmdom as the king of mumbling teen rebellion for the next decade. What a run he would have. He followed Over The Edge with the summer camp virginity-losing caper, Little Darlings (still not available on DVD and out of print on VHS). He then would play Moody, the ultimate high school bully, in My Bodyguard. And then he would win the James Dean wannabe sweepstakes in the SE Hinton misunderstood teen trifecta of Tex, The Outsiders, and Rumble Fish (the later two would mark the end of Francis Ford Coppola as an important filmmaker). Of course in recent years Dillon can be found mugging his way through such dribble as Herbie Fully Loaded (oh, how lucky James Dean was to die young).Continue Reading
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. ChloÃ« 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.Continue Reading
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.Continue Reading
The Brown Bunny
It could be a hearty bias that this is currently one of my favorite feature-length independent films. With that said, I understand that it is arguably very exclusive in terms of its audience. The Brown Bunny, written and directed by Vincent Gallo, might lend itself to being watched a few times before going down smoothly.
This film is the haunting story of Bud Clay (Vincent Gallo)—a professional motorcycle racer caught in his own literal nightmare. A repetitive adventure from New Hampshire to California coming across women that he attempts to let into his life with haste in order to mend his loneliness. But as he soon discovers, the ghost and memory of his only true love Daisy (Chloë Sevigny) is not only irreplaceable, but at the peak of his heart's desire and torment. Though Bud tries daily to fill the void of her existence, the film concludes with us being able to view the tragic end of their love and leaves a bold statement you won’t soon forget. A statement, etched in pulchritude, of a nature that only the human race suffers and yet is one of the eerie qualities that still manages to make it wonderful and unique.Continue Reading
Ghost Dog: The Way of the Samurai
Jim Jarmusch (Broken Flowers, Night on Earth) creates a film unlike any other with Ghost Dog. He manages to blend the coda of Kurisowa’s films about Feudal Japan with the characters and locales of an American mobster movie. In concept it may sound like the potential for a trainwreck, but in the hands of one of the leaders in independent cinema, it makes for truly original filmmaking. Jarmusch does a great job of utilizing this mixture of genres, not relying on cookie-cutter stereotypes, but rather, finding a way to flip everything on its head. The result is colorful characters that exist in a reality that is fresh and not found anywhere else.Continue Reading
Returning from nearly a decade of making films in Europe, Anthony Perkins stars as Dennis Pitt, a mysterious young man with a history of being emotionally disturbed. Like many character actors who had such iconic roles as Perkins (see Psycho), it’s hard to imagine him as anyone else. But in retrospect it is easier to see him as the great talent that he was. Simultaneously charming, terrifying, and maniacal. A slapstick master to boot.
Dennis’s parole officer, Azenauer (the late John Randolph), sets the cautionary tone in the first 5 minutes with his predictive warning to Dennis: ”You’re going out into a very real and tough world. It’s got no place for fantasies.” Not only warning Dennis but we, the audience too. There is a lot of misconception and confusion thrown our way over the next 90 minutes. Dennis settles into a New England industrial town where he meets Sue Ann (Tuesday Weld). Its rural Massachusetts locale isolates it from the tumultuous atmosphere of city life during the 1960s. Essentially in a bubble, this film could’ve been made anywhere, in any time, and I think that’s the real strength of the story.Continue Reading
The Wicker Man
35. The way Edward Woodward says lines like, "Then why in God's name do you do it, girl!?" or "Jesus Christ!" He also rolls his R's which is great because the girl he's looking for is named Rowan, so every time he says her name it starts with a drum roll.Continue Reading
John Hodge’s brilliant screenplay, based on the cult novel by the same name written by Irvine Welsh, is the story of a group of young friends, drug addicts, and overall petty criminals from Edinburgh who play hard and fast. The plot is a maturation story about one of these needle lovers, "Renton” (McGregor), who begins to realize that his life could be so much more in normalcy.
The screenplay does a wonderful job of capturing the lifestyle, while not passing judgment on it. Through Renton’s colorful self-actualizing voiceover, we’re given the chance to look into the bare souls of the wild, wayward and lost.Continue Reading