After Sean Penn’s solid supporting performance in Taps (as the sensitive guy, opposite Tom Cruise’s hothead), his now legendary scene stealing turn as stoner Spicoli in Fast Times at Ridgemont High, and then his work as Chicago juvenile delinquent Mick O’Brien in Bad Boys, Rolling Stone Magazine put him on the cover at the age of 23 and called him, “the next James Dean.” Since Dean only starred in three features, it's his cultural impact and dying young status that still make him a household name today. Dean also showed himself to be a gifted actor and it’s fascinating to imagine what his career would have been like had he not died so young. Penn has lived past those three early films (to some people’s surprise). He has had a long and eclectic filmography, with moments of pure acting brilliance (Carlito’s Way, Dead Man Walking, Sweet and Lowdown), while some critics have accused him of sometimes being a hammy overactor (I Am Sam, All The King’s Men, Mystic River). Either way the guy is easily a first-ballet hall-of-famer.
In addition to being a good jumping off point for any study of the truth and beauty in Penn’s acting, director Rick Rosenthal's Bad Boys is, for my money, the best American juvenile detention center flick. (Internationally you would have to add the British film Scum and Brazil's Pixote.) By 1983 Hollywood had only a spotty record grappling with teen crime flicks (the best at this point was Over The Edge) and Bad Boys sometimes feels a little overwrought with its occasional After School Special moments. On the other-hand it’s shockingly bleak and the violence is pretty brutal. Both teen prisons and the mean streets of Chicago are places full of predators - kill or be killed. Though Bad Boys doesn’t hit the exploitation highs of Class of 1984, it’s certainty much harder hitting and believable than most of the other teen dramas of its era.Continue Reading
Great Balls of Fire!
Great Balls of Fire!, the sort of tragic but really fun story of Jerry Lee Lewis, is a movie as bonkers as its hellcat hero. Lewis was a first class creep who made enough bad decisions to fill up a whole heap of country records many times over but he has more scorching Lucifer-bestowed talent than you, me, and all of our friends put together, probably. He got the biopic he deserved in this cranked up Southern exploitation romp that manages to both vilify and celebrate “the Killer” at the same time without any useless moral handwringing that would’ve sounded an insufferably false note anyway.
Dennis Quaid is a terribly wonderful, terribly underrated actor and he goes all out with his Killer. Looking like a Deep South doppelganger of Cesar Romero’s the Joker from the 1960’s Batman TV show, he’s a demonic pretty boy in a yellow suit who knows he can steal the show from anyone he’s put onstage with. He charms and infuriates all the people hitched to his star, be it Sam Phillips of Sun Records (played by the late, great Trey Wilson) or his bandmates (including John Doe from X). Alec Baldwin plays his (later to be notorious) cousin, preacher Jimmy Swaggart. Everyone seems to want a piece of Jerry Lee, from a groupie who makes off with a lock of his golden hair to his “man of God” cousin who even then was a terrible hypocrite while up there on his bully pulpit.Continue Reading
Good Night, and Good Luck.
Most of the movies directly about the horrors and political terrorism of the McCarthyism of the 1950s usually center on a dim schmuck who accidentally finds himself involved in the blacklistings. They’ve ranged from the good (The Front with Woody Allen working as an actor-for-hire), the bad (Guilty by Suspicion, the beginning of Robert De Niro’s slid towards mediocrity) and the terrible (Frank Darabont’s awful The Majestic with Jim Carrey, a movie that makes “Capra-esqe” a mortal sin). The usually simplistic genre helps make mega-star actor George Clooney’s second directing effort, Good Night, and Good Luck. (after the interesting but far from perfect Confessions of a Dangerous Mind), seem positively genius in comparison. Instead of piercing the blacklisting from the streets he sets it upstairs in the newsroom of the TV show See It Now, where the legendary broadcast journalist Edward R. Murrow (played by David Strathairn in the performance of his career) dared to take on Senator Joseph McCarthy and his House Committee on Un-American Activities. Clooney (who also wrote the script with another one-time journeyman TV actor Grant Heslov) not only makes one of the most pointed films about this ugly period in American politics but also gives us a fascinating glimpse into the working of 1950s television. Shot in color and then transferred to a stunning black & white in post by cinematography all-star Robert Elswit (he’s shot all the Paul Thomas Anderson joints up to There Will Be Blood), Good Night, and Good Luck. really is a marvelous film, beautifully realized in its simplicity and a triumph on all fronts.
Murrow and his trusty producer, Fred Friendly (Clooney), fluctuate their television news magazine show between lightweight celebrity interviews (Liberace!) and more meaningful political pieces, where their heart really is - the fluff is a way to appease their sponsors and the higher-ups at CBS. Knowing that it could start a battle, they decide to take on the dangerous bullying tactics of Senator McCarthy, who was at the height of his powers. He was ruining careers of American citizens by accusing them of being Communists unless they groveled and told McCarthy what a great job he and his Committee where doing, and they were often forced to name others who may be Communists, just to give more names and more power to the often drunk lout Senator. Murrow and Friendly have to walk a tightrope when the Government begins to hint at an investigation of the station's employees and McCarthy himself falls on his old standby trick, accusing Murrow of being a Communist. Meanwhile the head of CBS, William Paley (Frank Langella, wonderful in the role), is forced to defend his star but also tries to keep him on a short leash (the moments between Langella and Strathairn are the best in the movie). The staff is under their own pressure. Robert Downey Jr. and Patricia Clarkson play a secretly married couple (CBS policy did not allow employees to wed), and in another captivating performance, Ray Wise plays CBS News Correspondent Don Hollenbeck who admires Murrow but lives in terror of having his own lefty political background exposed.Continue Reading
The Exploding Girl
Almost everyone has or has had that friend who feels like a soulmate; the one you think about daily and encourage--with some effort--in relationships, who just so happens to be the person that you cannot imagine life without. The Exploding Girl is a tender and offbeat little film about two friends whose love is too fragile to go beyond that title.
In her debut performance Zoe Kazan plays Ivy, a girl with epilepsy returning to her New York hometown for Spring break accompanied her best friend, Al (Mark Rendall). They've known each other since they were kids and each is more or less in a fickle college relationship that takes a surpsring amount of effort to keep afloat. Al discovers that his parents have rented out his room to for the summer and ends up spending his entire vacation living with Ivy and her mother (Maryann Urbano). The films spans the entirety of their summer vacation, taking the viewer through all their old haunts and small moments that leave an impression of timelessness within their friendship. The only interruption in their time together is Zoe's summer job as a youth counselor and her visits to the doctor to monitor her epilepsy.Continue Reading
The Cotton Club
Playing like a cross between Once Upon a Time in America and Purple Rain, with a script by Francis Ford Coppola and the great Albany novelist William Kennedy (author of the depressing Depression classic Ironweed), based on a story the two concocted with The Godfather author himself Mario Puzo, director Coppola’s gangster/Jazz epic The Cotton Club surprisingly fits in less with his Godfather saga, but stands up perfectly with his “experiments in style” phase he’s worked on ever since burning-out after his masterpiece Apocalypse Now in ’79. While The Cotton Club’s two beautiful leads, Richard Gere and Diane Lane, are only able to deliver two-dimensional performances, luckily the brilliant supporting cast (led by the wonderful long-time character bad-guy actor James Remar) manages to bring a third dimension to the acting, helping to keep the film more than watchable. Aside from the acting, gorgeous cinematography, and production design from big names in their fields, cameraman Stephen Goldblatt (The Hunger) and superstar set designer, Richard Sylbert (The Graduate, Chinatown, Rosemary’s Baby, etc.), is the music and musical performances led by tap-man extraordinaire Gregory Hines (History of the World: Part 1) and a number of outstanding re-creations of the era's legends including Duke Ellington and Cab Calloway. The Cotton Club’s production history was mired by nightmares and legal problems (ranging from drug issues to murder) which may explain why the final product may feel a little cluttered or chaotic, but that said, it still holds up as a damn fascinating piece of entertainment.
The massive plot goes something like this... Harlem 1928, hipster clarinetist Dixie Dwyer (Gere), hopes to get hired on at the legendary Cotton Club, but after accidentally saving the life of tough guy gangster Dutch Schultz (Remar), he becomes his boy, appreciated but under his control. Things get dangerous when he falls for Dutch’s girlfriend, Vera (Lane), and they carry on an affair behind his back. Cotton Club owner Owney Madden (Bob Hoskins) and his boyfriend Frenchy Demange (Fred Gwynne AKA Herman Munster) are above Dutch on the underworld food chain, they try to keep him under control but he proves just too psychotic to manage. Meanwhile a black gangster, Bumpy Rhodes (Laurence Fishburne), tries to make an inroad on Harlem’s white controlled crime scene as does Dixie’s ambitious trigger happy little brother Vincent (Nicolas Cage). The battle for the soul of Harlem all leads to lots of gun play and violence between black, Jewish, Irish and Italian gangsters.
Terms of Endearment
Sometimes films about women are unfairly called “chick flicks,” or more recently, if it involves illness, it can be written off as a Lifetime flick or disease-of-the-week TV movie. Terms of Endearment is neither, though it’s sometimes too elegantly clean in its look; in its heart it’s a big, complicated story with multi- dimensional characters that works perfectly as both a smart comedy and a moving drama. Following mother and daughter, Aurora (Shirley MacLaine) and Emma (Debra Winger) over decades, their tricky relationship to each other and others, like a ‘70s-style flick, sometimes it’s hard to like these women or fully understand their motives, just like real people, not movie creations. Besides MacLaine and Winger giving the performances of their careers, the film is loaded with pedigree behind it. Making his directing debut is the legendary TV writer and creator, James L. Brooks (The Mary Tyler Moore Show, Lou Grant,Taxi) and it has his now familiar fingerprints on every frame. Brooks also wrote the script, based on a book by the great novelist Larry McMurtry (Hud, The Last Picture Show, Lonesome Dove). It was shot by the respected Polish cinematographer Andrzej Bartkowiak (Prince of the City, The Verdict), the crisp look now the standard for these kinds of movies. The great Polly Platt (Paper Moon) designed it, Richard Marks (The Godfather Part II) was the editor, and Michael Gore (Fame) provides the dainty score. Oh, and in a big supporting performance Jack Nicholson wanders in and devours the screen, brilliantly.
The wealthy widow Aurora is a deeply caring but overly needy mother to her only daughter, Emma. She doesn’t approve of Emma’s choice of husband, the skirt-chasing college professor Flap Horton (Jeff Daniels) who drags Emma from one sleepy Midwest college town after another and, over the course of several years, they have three kids together. While a half-assed father, he usually also has an attractive young coed on the side. Everything Emma does doesn’t seem to meet Aurora’s high expectations; out of desperation and loneliness in her lousy marriage she even has a brief affair with a nerdy married banker (John Lithgow, who had become a major character actor after a bravura performance in The World According to Garp).
There Will Be Blood
For director/writer Paul Thomas Anderson, his first film Hard Eight was a solid gambling thriller while Punch-Drunk Love gave him quirky Lynchian street cred, but it was his double dose of sprawling LA ensemble pieces Magnolia and Boogie Nights that put him in the big, big-time. Though those are two dazzlingly shot and acted flicks, there is a sense of Altman-esqe gimmickry and MapQuest symmetry about them. It really was his fifth feature, There Will Be Blood, which made Anderson more then just a hip taste of the day. Apparently the film was partially inspired by Upton Sinclair’s 1927 novel, Oil!, with the setting moved from the 1920s to the turn of the century. The film works best when sticking to the source material, detailing the beginnings of the oil boom; it tends to loose itself when veering off-course into Anderson’s morality battle. Regardless, it’s always watchable thanks first and foremost to the epic performance from the great Irish actor Daniel Day-Lewis, who channels the voice, look, and attitude of director/actor John Huston (even more accurately then Clint Eastwood did in White Hunter Black Heart). There Will Be Blood proves that when Anderson has the right, focused material he has as much clear-eyed vision as anyone making movies these days.
Spanning decades in the life and career of Daniel Plainview (Day-Lewis), a prospector who gets into the oil game, the films opens with a stunning dialogue-free 15 minutes as Plainview digs for oil and adopts a baby boy from a worker who was killed. He has a knack for finding oil and becomes more and more successful. Though he is a greedy manipulator he seems to be a devoted dad, referring to his son as his business partner. However, after the kid goes deaf in an on-site accident he seems to lose his patience for fathering. Getting a tip from a young man named Paul Sunday (Paul Dano) about a piece of land that may have oil, he swindles the family out of their land and gets very rich with the oil he takes from their ground. Unfortunately, Paul’s twin brother Eli (also Dano, which at first seems confusing) is a true believer preacher who becomes a lifelong headache for the faithless entrepreneur. He also is joined briefly by a guy claiming to be his long-lost half brother (Kevin J. O’Connor) and has minor spats with the major oil companies.
In 1981, with newly elected rah-rah American president Ronald Reagan taking office, an anti-Communist, anti-Soviet ardor was in full swing. So it was extra amazingly audacious that pretty-boy actor Warren Beatty was able to get his giant bio of Communist journalist John Reed made. Reed, the only American buried in Russia’s Kremlin, isn’t exactly a household name and Reds the movie, clocking in at an epic 194 minutes, wasn’t exactly a sure thing at the box-office (matter of fact, despite winning a bunch of awards, it was considered a financial disappointment in its day). Reds really is a tribute to the passion of Warren Beatty’s grand vision; he produced, directed, and co-wrote the screenplay with British playwright Trevor Griffiths (with uncredited contributions from Elaine May) and managed to put together an impressive cast to back him up (Diane Keaton, Jack Nicholson, Edward Herrmann, Paul Sorvino, Maureen Stapleton, Gene Hackman, etc). Ironic: a rich movie star makes a big expensive movie (with corporate funds) about an anti-wealth guy. In the Doctor Zhivago tradition, Reds is one of those sweeping literate love stories which was shot for over a year in five different countries; but underneath that sweep it’s a very personal and intimate little movie.
After covering events in Russia, journalist John Reed (Beatty) returns to his home town of Portland to raise money for his ultra-left newspaper. There, he meets and has a fling with a married socialite named Louise Bryant (Keaton) and invites her back to New York's bohemian Greenwich Village where they both hang with many of the famous radicals of their day, like the outspoken anarchist Emma ...
Can a film’s reputation for high quality and moral weightiness make the act of watching it a daunting experience? Actually no, 20 years later, Schindler’s List may have a high-hatted standing as an important event film that must be seen because of some kind of personal solemnity, but like Citizen Kane, it may sound like drudgery, but Schindler’s List isn’t homework. And though the subject matter is utterly disturbing and even depressing, it’s so well made, so well acted and so well crafted that for this viewer, my most recent experience watching it was completely dazzling, not to mention absorbing and even entertaining. The film also gets some undeserved contempt and jeers because Mr. Blockbuster himself, Steven Spielberg, was the director. Some see it as an attempt at self-seriousness from a guy who has prided himself on his Peter Pan complex (even making the worst Peter Pan flick of all time, Hook), but why can’t the little boy grow up and evolve? Not since The Beatles put out “Sgt. Pepper's Lonely Hearts Club Band” has an artist’s evolutionary step been so massive. Back in 1993 Schindler’s List was screened during the Oscar friendly Christmas season, when just some months earlierSpielberg had released his live-action video game Jurassic Park. One film is a shallow CGI-created attempt at cheap thrills while the other is a painstakingly rendered and emotionally devastating nightmare. Dare I say it? No matter what you think or think you’ve heard Schindler’s List is a masterpiece, one of the best films of the last 25 years.
Though Spielberg made some truly great films:Jaws, Close Encounters of the Third Kind, E.T.: The Extra-Terrestrial, and Raiders of the Lost Ark, all might be called pop-entertainment. His first forays into more adult-themed films were adaptations of great books by Alice Walker and J.G. Ballard; first, the overrated The Color Purple and then his underrated follow-up, the very good WWII Pacific prisoner of war flick Empire of the Sun. Meanwhile, he seemed to lose his magic, producing a lot of bad children’s television while his low points as a director included Always and Hook. And then ’93 happened; he re-found the mojo with his monster hit Jurassic Park and then his ultimate grown-up flick, the holocaust epic Schindler’s List.
For Czech director Milos Forman, in that brief 10 year period between his two masterpieces, One Flew over the Cuckoo’s Nest and Amadeus, he took on two monumental American mini-institutions as sources. Hair, his film version of the groovy stage musical about the Age of Aquarius, is mildly memorable, while Ragtime, his big adaptation of E.L Doctorow’s hugely popular and influential novel, was largely ignored in its day; but 20-something years later it holds up and now looks like one of the most overlooked historical dramas of the decade. Ragtime is a film about the small details and how little incidents can grow and change history and people’s lives. With a fascinating cast and some interesting, ahead-of-its-time politics, Ragtime is truly an original and entertaining movie.
The film begins like the book: a sprawling story of scandal and trouble in the first decade of the 20th Century. It mixes real-life characters with fictional creations (similar to HBO’s Boardwalk Empire, the pulp work of James Ellroy, and countless books and films since). The famous murder trial of Harry Kendall Thaw (Robert Joy), who shot architect Stanford White (played well by overly macho writer Norman Mailer) over an affair with his wife, the showgirl Evelyn Nesbit (fresh out of Ordinary People, Elizabeth McGovern), dominates the first act. Meanwhile, a nice family just north of Manhattan in New Rochelle goes through massive changes. Mother (Mary Steenburgen) and Father (James Olson, an actor I wasn’t familiar with, who’s outstanding in this) try to keep their dignity while their Victorian values are constantly challenged. Her weird sibling, Younger Brother (Brad Dourif, less weird than usual, but still odd), works for Father at the fireworks factory and is obsessed with Evelyn, but she is too much the starlet for him. Meanwhile, Mother has taken in a black woman, Sarah (Debbie Allen), and her new baby. This is the thread plot that overtakes and dominates the story.