If nothing else, Marathon Man is relevant as British director John Schlesinger’s last important film. He had been a major force in English cinema in the '60s with Darling, Far From The Madding Crowd, and Sunday Bloody Sunday. In America he made one of the great "Los Angeles movies," Day Of The Locust, and one of the great "New York Movies," Midnight Cowboy (for which he won an Oscar). After Marathon Man his next dozen or so films before his death in 2003 would be completely unmemorable (with the exception of Sean Penn’s stellar performance in The Falcon and The Snowman), sadly ending such a promising career with the horrid Madonna vehicle, The Next Best Thing.
Based on a massive bestseller by William Goldman (Butch Cassidy and The Sundance Kid), Marathon Man is interesting because Schlesinger is able to use the docu-street style he perfected with Midnight Cowboy and his smart, gentle approach to grown-up literature to turn out a really cool, tough, and intelligent thriller. It’s a film with a number of twists, though they don’t always add-up, on the whole it's a taut, gripping, exciting film.Continue Reading
Shortly after the release of Durston's cult classic, I Drink Your Blood, another movie was crafted with a rampant disease as the focal point. Seeing as how I Drink Your Blood was so ridiculously good and over the top, I imagined this to be similar in plot, but I was wrong. A young doctor named Calvin Crosse (Philip Michael Thomas) is released from prison, his crime being an illegal abortion he performed as a med-student in which the woman did not survive. Dr. Thor, his old professor, has called him to the city of Stanford in order get his help with a disease that might be affecting the town. While hitchhiking he meets Billy (Harlan Cary Poe), a handsome soldier who is returning from duty and grew up in Stanford. The two arrive and part, Billy being smothered by his family and Calvin being met with hostility from locals who don’t like newcomers, especially black ones.
Upon arriving at Dr. Thor's house, Calvin finds him dead and has nothing to go on except a tape recording left for him should the old man die before he arrived, and a note on his desk that reads "D-D?" Sheriff Whitehead (Peter Clune) moseys over to the house and meets Calvin, who becomes his mortal enemy at sight. Their issues are put on hold and Calvin gets to work trying to figure out why he was requested from his old friend. He is visited by a mysterious girl named D.D. (Josie Johnson) who was receiving help from the doctor and is distraught by the news of his death. She just so happens to be the daughter of the menacing sheriff and the new girlfriend of Billy, who turns out to be the only friend Cal has in the town.Continue Reading
Midnight in the Garden of Good and Evil
First off, I am not a fan of Clint Eastwood. Hate to say it but this, Mystic River, and Play Misty for Me are the only films of his that I have taken a liking to, and that is mainly because his "Eastwood touch" is nowhere to be found. This is also one of the few films of his that he doesn’t star in and is actually resolved quite well. Now don’t get your undies in a bunch, because I’m not saying he’s a bad actor or director. I just find there to be a lot of testosterone and holes in his work, both which have no relevance to my tastes.
The story takes place in Savannah, Georgia where John Kelso (John Cusack)—a reporter from New York—is visiting for an assignment. The socialite and bourgeois art collector, Jim Williams (Kevin Spacey), is throwing his famous Christmas party and the young reporter is sent in to interview the mysterious man and write an article on the events. He is introduced to Williams and warms up to his Southern hospitality immediately, while being thrown off by William’s troubled and violent lover, Billy (Jude Law), who is supposed to be out of sight for the party. John could care less that Williams is a closeted homosexual, but the aggravation and supposed fear that Billy sparks is clear from the start and is the catalyst for the rest of the film. The party happens and is covered by John and then he returns to his lodgings, passing neighbors who intend to party till dawn. Hours later, the familiar sound of sirens rouses him from sleep and he ventures back outside where the same locals are buzzing (chilled drinks still in their hand) about the fact that Williams has shot his lover.Continue Reading
The Day Of The Jackal
I often recommend The Day Of The Jackal to people and they always come back and say the same thing, “That was great. What are some more movies like that?” I’m hard-pressed to answer because there are none as good of the type (maybe in the general ballpark: State Of Siege, Z, Black Sunday, The Manchurian Candidate - I don’t know). The Day Of The Jackal is the best assassination thriller ever made. Ever. Not to be confused with the Bruce Willis sorta remake Jackal, which sucked. This, the original version based on the great novel of the same name by Frederick Forsyth (The Dogs Of War), is a taut, textbook example of how to make an exciting, sophisticated, suspense film with a cast of non brand-names and without having to rely on overblown action sequences.
After France ended their occupation of Algeria their military was left with a number of pissed off killers (the O.A.S.) who wanted revenge against their president, Charles de Gaulle (see the brilliant docudrama Battle Of Algiers for further study on that subject). So they hire the world’s greatest assassin - code-named "The Jackal" (Edward Fox) - to kill him. Traveling all over Europe, the film meticulously follows the small triviality of how The Jackal puts together his plan (the goal is not only to shoot and kill de Gaulle, but to escape alive, without getting caught). He’s British, but can slip into any country; he’s an enigma and sleeps with both men and women if they fit into his plan. The film details everything in his plan, including the ways he obtains forged passports and even has specially designed bullets made.Continue Reading
With Atlantic City the then 67-year-old Burt Lancaster gave the performance of his five decade long film career. And what an incredible career it was. As Lou, an over-the-hill, broken down loverboy who dreams of one big score and still fancies himself a player, telling tales of one-time peripheral ties to the mob, Lancaster is able to use the physical and emotional gifts that have defined him his whole career. Like many of his characters, Lou is all buff and gusto on the outside, while sensitive and gooey on the inside.
Lou spends his days running numbers and looking after his sugar-mama Grace (Kate Reid), a decrepit ex-mob moll who came to Atlantic City during WWII for a Betty Grable look-a-like contest. The highlight of his life is lusting after his younger neighbor, Sally, a casino waitress and wanna-be blackjack dealer (an outstanding Susan Sarandon). Lou peeps at her through the windows as she gets topless and erotic with a lemon, rubbing it on herself to get rid of the restaurant's clam smell. When Sally’s lout ex-husband stashes a huge bag of cocaine in his pad and then gets killed by mobsters, Lou is able to woo Sally and become the true gangster he always fantasized about being. Meanwhile the city of Atlantic City in the background represents the foreground - it’s an aging, crumbling dinosaur being torn down by developers and being rebuilt with slick new buildings.Continue Reading
Along with the original versions of The Texas Chainsaw Massacre and Night Of The Living Dead, Rosemary’s Baby was one of the most frightening film-watching experiences of my life. And what really makes Rosemary’s Baby an even more special film is that if you took the "horror" elements out of it and you just had a film about a young couple in New York City in the late '60s it would still be completely entertaining. It’s a great lesson in storytelling: interesting characters first will make the "horror" more powerful.
The perfectly taut screenplay credited to director Roman Polanski follows Ira Levin’s novel almost scene for scene, line for line. There is not a loose shred in the script, which may sound simple enough on paper - newlyweds Guy (John Cassavetes) and Rosemary (Mia Farrow) move into an old Manhattan building where they become friends with the elderly couple next door (Ruth Gordon and Sidney Blackmer). Slowly the pregnant Rosemary begins to suspect that they and their creaky posse are part of a witch’s covenant of devil worshippers who are hungry for her unborn baby.Continue Reading
Guilty pleasures - or in the book world they are often referred to as beach books or popcorn or even junk food - you enjoy eating them or watching them or reading them but they have no nutritional content to them. The late '80s and early '90s were full of serviceable guilty pleasures, usually in the guise of thrillers. The genre hit its critical peak with the overrated Michael Douglas flick Fatal Attraction in '87 (that movie actually got a best picture Oscar nomination and that was back when they had a mere five elite films nominated). Superstar bum-flasher Douglas continued his reign as victim to the ladies lust, hitting his apex in '92 with the sleazy homophobia of Basic Instinct. Of course director Paul Verhoeven had done the same story much more effectively with his Dutch film, The 4th Man, ten years earlier.
Video cassettes and cable helped make the suspense genre a staple of movie watchers' subconscious. You may or may not remember the titles, but the films were popular in some form or another, ingested like a bag of potato chips, enjoyed that evening and forgotten the next day. Blink, Color Of Night, Dream Lover, The Last Seduction, Jennifer Eight, The Final Analysis, Jagged Edge, Suspect, Pacific Heights, blah blah blah, the list of title goes on. But for some reason there is one that I always remember. I guess I enjoyed it more than the others...Malice.Continue Reading
Death Of A President
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.Continue Reading
Every so often there comes a film that makes one question the motives of the individuals responsible for the picture that’s painted through the moving frames you see on the screen. Sometimes, not only do the motives come into question but perhaps the morality as well. It’s a very rare thing for an artist, director, writer, musician, etc. to push one to the brink of trust. The co-writer and director of the film The King, James Marsh, is one of those artists. An artist that paints a picture so bleak and disturbing that it becomes nearly impossible for one not to claim irresponsibility on the part of said artist. My description of the film might be a bit dramatic when in fact the film itself might be a bit melodramatic, but either way, this film will get you at your core and it will stay with you long after you view it.
The King tells the story of an afflicted young man by the name of Elvis (Gael Garcia Bernal) who, after just recently being discharged from the US Navy, goes on a journey to connect with David (William Hurt), the father he’s never known. After the first confrontation, David makes it clear to Elvis that he is not welcome. Suddenly, David is conflicted as he is faced with the moral responsibility of telling his family. What’s so conflicting is the fact that David is a minister at the local mega-church, as well as a respected member of the community, and he had no idea that he had a son other than the one who he calls “son.” Despite David’s warning to Elvis, Elvis forces his way into David’s life without him realizing it. Elvis’ presence in the family circle proves to be disatrous for all involved. From its mesmerizing opening to its violent and dreary climax, The King provides the audience with a look into the lives of those who are driven by faith, passion, and hatred, yet makes no judgment on those lives and allows for the audience to judge for themselves.Continue Reading
The Last Wave
In Peter Weir's atmospheric film The Last Wave, we are brought into a world of Aboriginal witchcraft, dream reality, and disorientation; similar to his film Picnic at Hanging Rock, Peter Weir offers few clear cut clues and loads of mystery, creating a wholly mesmerizing viewing experience.
The film opens up with a scene from a school house in a rural area of the Australian desert. A sudden violent storm begins outside and, as a young boy is looking out the window, a heavy hail begins and a large chunk of ice crashes through the window, slashing the boy in the neck. During this scene we are treated to a montage of images from the city, showing gridlocked traffic and people running from the heavy rain of the freak storm.Continue Reading