Movies We Like
Handpicked By The Amoeba Staff
Films selected and reviewed by discerning movie buffs, television junkies, and documentary diehards (a.k.a. our staff).
With post-Vietnam War movies there is a “Vietnam Vet taking down his enemies” genre that would include the pulp biggies Taxi Driver, Billy Jack and First Blood, as well as pure vigilante exploitation films like Eye of the Tiger, Vigilante Force, The Exterminator, The Annihilators and Gordon’s War (not to be confused with the ‘Nam vets that appear as crazies in Targets, Black Sunday, Skyjacked and Earthquake or the zombie vets of Cannibal Apocalypse). Somewhere between pulp and vetploitation lays the very intense and violent Rolling Thunder. This was director Joe Flynn’s followup to his interesting crime thriller The Outfit. Paul Schrader (most famous for writing Taxi Driver and Raging Bull) wrote the screenplay though he claims it was reworked away from his original intention by credited co-writer Heywood Gould (Fort Apache the Bronx and Cocktail). Either way Rolling Thunder definitely carries Schrader’s signature theme of the lonely loner on a self-destructive path against society while seeking his own kind of redemption.
The film opens with Denny Brooks’ ballad “San Antone,” which was used similarly in The Ninth Configuration (he also sang the theme to the Chuck Norris choppy-socky Breaker! Breaker!). After spending years as POWs, Major Charles Rane (William Devane) and Sergeant Johnny Vohden (a very young and very intense Tommy Lee Jones) finally return home to Texas. Of course, we know from our film studies, going as far back as William Wyler’s WWII drama The Best Years of Our Lives, that returning vets have a tough time readjusting. And Rane is no different. His pretty wife Janet (Lisa Blake Richards of TV’s Dark Shadows) tries to help him ease back into civilian life, but he senses she has moved on (it’s obvious she has been involved with a local cop), and his son doesn’t even remember him. Rane suffers from PTSD and is emotionally distant, even turning down the advances of a young military groupie, Linda (Linda Haynes). The town tries to make him feel welcomed with a parade, a new car and over two grand in silver dollars (one for every day he was in captivity).Continue Reading
Usually when movie lovers talk about legendary lost works in which auteur directors had their films taken from them and butchered by the American studios that produced them, they’re referring to “holy grails” of cinema such as Erich von Stroheim’s Greed (1924) or Orson Welles’s The Magnificent Ambersons (1942). But I recently stumbled across an account of another supposed lost classic, Swing Shift—Jonathan Demme’s tribute to America’s “Greatest Generation” of World War II and the women on the home front who found a new sense of self and independence by working for the war effort in the factories.
I actually really love the movie Swing Shift as it is but I hadn’t seen it in years. I remember my mom taking her mother to see it and letting me tag along. My grandma was part of that generation of women who did what they could for the war effort, whether it meant volunteering at the local USO or planting a Victory Garden in their backyards. By 1984, when the movie was released, that generation was elderly while I was only six. Seeing the movie as a kid, I think I just really loved the sentimental look at the U.S. during the 1940s. Taking place in Southern California, in Santa Monica, between the attack on Pearl Harbor and VJ Day, the film has a melancholic feel, with the sky looking perpetually overcast and the music usually something slow and beautiful, such as one of Jo Stafford’s torch songs. And though I don't remember if Glenn Miller's "Moonlight Serenade" is on the soundtrack it really should be.Continue Reading
If we lived in a perfect world, Police Story would be the archetypal action film all other action films would emulate. But the world is imperfect and most action films are bloated, $100 million plus productions filled with bad dialogue, aging stars, poorly choreographed fights, and CGI removing any semblance of real threat or excitement. And yet, Police Story is almost thirty years old and still excites in the way action movies should.
Police Story doesn’t wait around to give you tons of unnecessary exposition. Right from the start, it spends only a few minutes establishing who the bad guys are, why the cops are after them, and Chan Ka-Kui's (played by Jackie Chan, also the film’s director) moralistic view of his job. And right when they give you just enough info to get involved in the story, you’re treated to a gunfight followed by cars driving through and destroying an entire shanty town followed by Chan Ka-Kui chasing a bus being held hostage by the escaping villains.Continue Reading
No one has heard of Director Pino Amenta. The name John Waters has always brought to mind the Baltimore cult director instead of the English actor. Almost everyone has heard of Guy Pearce, who was introduced in Heaven Tonight—a dated melodrama circulating a strained relationship between a father and his son. The weight of their troubles doesn't have anything to do with your standard fare of family drama, like one of the members abusing substances to the point of domestic strife. The issues that Johnny Dysart (John Waters) and his teenage son, Paul (Guy Pearce), are having are based on talent. Johnny is a failing musician and a has-been after a short-lived but illustrious career 20 years prior. Like many bands from the '60s, his was one that was going to become the next Beach Boys or Beatles—hitting the top of the charts and soon to tour the world. All it took was for his best friend and bandmate to become a junkie and the band collapsed. Now young Paul is climbing to the top with his electro group and doing so without the help of his father. His determination and position as the leader of other young men who are keen on success is not only impressive, but the target of envy and resentment from his displaced father.
Still, things in the Dysart household have stayed relatively steady over the years. Everyone gets along for the most part and Johnny's wife, Annie (Rebecca Gilling), is waiting patiently, and with great understanding, for her husband to put away his guitar and settle down into middle age. Johnny, oblivious to the strain his nonexistent career is putting on his family, is waiting for his last chance to come through. He's finished another album and chases after an old colleague in the business to give him an answer in terms of releasing it. Annie has been the major breadwinner of the family, and with a new business opportunity on her hands she's ready to take a risk and wants her husband to be included. Meanwhile young Paul and his group starts to really become popular and he desperately wants his father's approval and attention. All of this is put to the side when Johnny's troubled old friend and former bandmate, Baz (Kim Gyngell), comes crawling back into their lives and leaves an impact that has the potential to destroy their progress as a family unit.Continue Reading
Children of Men
Can one really imagine a city underwater? A meteor penetrating the Earth's ozone layer after a team of rogues tries to stop it? Dormant aliens or complex thinking machines rising from the Earth's core? Zombies dressed like your neighbors who hunt down the fit and handsome last man on Earth? The answer is a resounding “no.” But infertility...inhumane policing of immigrants...turmoil and depravity...a civilized and desperate reach towards mankind's will to sustain and overcome—well, that's an apocalypse that is much more tangible. Alfonso Cuaron's slow burn to the end of mankind paints a poetic picture of biblical proportions. One that not only allows the viewer to sink into a mortifying suspense of disbelief, but also manages to exemplify a relevant and powerful social commentary; a science-fiction for realists.
Cuaron's name seems to be on a lot of people's tongues following the recent release and accolades of Gravity, but Children of Men is a masterpiece that, while commercially a success, fell short of the sort of interest and praise of his latest work. It's as though fans of the genre were still caught up in the thrill and evolution of robots and outdated imagination. Perhaps the grizzly immigration aspect struck a nerve or was regarded as too controversial.Continue Reading
Let the Right One In
Aside from being regarded as one of the best vampire movies to date, Tomas Alfredson's Let the Right One In is also one of the most apathetic and emotionally involving coming of age films. Its ability to paint a literally frozen portrait of Sweden post-Red Curtain while zoning in on the woes of childhood issues ranging from bullying to first love goes beyond the confines of a genre and allows the work to reach a rare platform of relatability that is truly a pleasure to behold.
Taking place in a small suburb of Sweden in the early '80s, the film is told through the experiences of Oskar (Kare Hedebrant)—a lonely pre-teen whose friendless existence and somewhat helpless position of a bullied youth has instilled in him a fascination with morbidness while simultaneously nurturing his eccentric personality. When a middle-aged man and his daughter move into the flat next door, Oskar takes a chance at befriending Eli (Lina Leandersson), the little girl.Continue Reading
Soylent Green, completing the Charlton Heston dystopian future trifecta of Planet of the Apes and The Omega Man, may be spiritually closer to Douglas Trumbull's ecological space flick from 1972, Silent Running, and the much more recent gloomy Children of Men, than the flat out entertainment adventures of Chuck’s earlier walk down the roads of things to come. The film is based on the novel Make Room! Make Room! by respected sci-fi writer Harry Harrison, with a screenplay by Stanley R. Greenberg (who was a career TV scribe until he hit the big screen with another Heston flick, the less memorable Skyjacked). With Soylent Green underrated director Richard Fleischer continued to develop one of the most diverse film resumes ever. His bizarre career started in noir (Narrow Margin); included dramas (Compulsion); sci-fi (20,000 Leagues Under the Sea and Fantastic Voyage); some great little thrillers (The Boston Strangler, 10 Rillington Place and See No Evil); as well as a number of legendary misfires (Doctor Dolittle and the Neil Diamond opus The Jazz Singer). Fleischer manages to sprinkle a little of all of the above into Soylent Green.
If you already know the slight twist ending, Soylent Green can play like a long Twilight Zone episode, but beyond the Rod Serling influence (he came up with that great twist at the end of The Planet of the Apes), this is an interesting take on the future, which was certainly more fresh in 1973. It’s now 2022 in New York and the world is overpopulated (44 million in NY alone) and poverty stricken. Due to the “greenhouse effect” it’s awfully hot, the world is polluted, the oceans are dead, and food is scarce. The Soylent Corporation produces food wafers to feed the masses: soylent red, yellow, and the new and improved delicious green. But when one of the company's owners, William Simonson (Joseph Cotton), is murdered NYPD detective Robert Thorn (Heston) investigates. Thorn is lucky enough to have his own teensy tenement apartment he shares with his buddy Sol (Edward G Robinson in his last film role), one of the few old timers who remember how the world once was - he even once tasted a strawberry! Most of the masses live on the street (or his building’s stairs), but Thorn and Sol live not much better. Like a classic noir character, when Thorn investigates the wealthy man’s death he helps himself to his stuff (food, soap, booze, even the dead man’s hooker companion).Continue Reading
Witness for the Prosecution
Almost forty years after her death in 1976, Agatha Christie is still the queen of the mystery novel. Her characters, including Hercule Poirot and Miss Marple, are seemingly just as popular and prolific today (mostly on television now) as they were when she first invented them. Though many of her stories have been adapted for film, only two--by my recollection--have lasted the test of time. In '74 Sidney Lumet made a solid Poirot story, Murder on the Orient Express, thanks to a great cast led most memorably by Albert Finney. But even better was back in ’57 when Witness for the Prosecution was directed by the superstar director Billy Wilder. First appearing as a short story, Christie later turned it into a play. But Wilder and his two co-screenwriters, Larry Marcus (who would go on to co-write the brilliant screenplay for The Stunt Man) and Harry Kurnitz (the play A Shot in the Dark) would open it up for the screen and add the wonderful role of Miss Plimsoll for actress Elsa Lanchester, giving her an opportunity to share the screen with her husband Charles Laughton. Ironically, a TV remake and most stage adaptions of the play since have included the role, a Wilder invention, not a Christie one.
In England, big-time defense attorney (barrister) Sir Wilfrid Robarts (Laughton) is on the verge of forced retirement due to health issues. He has a full-time nurse, Miss Plimsoll (Lanchester), on his case, nagging him to rest and give up his vices. But when Leonard Vole (Tyrone Power) appears at his door, about to be indicted on murder charges, Sir Wilfrid is too intrigued to pass the case up. Vole, a handsome and married playboy (and American, though that is never acknowledged), is accused of murdering a much older woman who took a shine to his charms and conveniently had just changed her will, making him the beneficiary to her fortune. Vole reasonably explains his side, and it does appear to be circumstantial evidence stacked up against him. Vole's passionate German wife Christine (Marlene Dietrich) backs up his story. But when the trial comes along, strangely Christine is called by the prosecution, claiming Vole admitted to killing the old lady and painting a terrible picture of both herself and her husband. The great Wilfrid looks to be defeated until a greedy Cockney woman sells him some current love letters exchanged between Christine and her secret lover. The new evidence shows that the wife lied and it is enough to prove Vole’s innocence and end the trail. But Sir Wilfrid knows it was all too easy and there is something amiss. And here we get the great, shocking M. Night Shyamalan twist that Agatha Christie and her ilk specialized in.Continue Reading
Over the decades, Tim Burton has made himself into a brand name (mostly off the success of his earlier films). While he is a master of images and ideas inspired by comic books, B-movies and campy pop culture, the story and payoff rarely lived up to the potential. After an impressive run of films about outsiders like Pee Wee’s Big Adventure, Beetlejuice and Edward Scissorhands (and the box office bonanza of Batman and Batman Returns), Burton peaked with what is still his best movie, a biography of the beloved, transvestite director of horrible films, Edward D. Wood, Jr., titled appropriately enough Ed Wood. The flick follows Wood in his “Golden Period” of the 1950s and his collaboration and friendship with has-been horror icon Bela Lugosi on three quickie cheapies, Glen or Glenda, Bride of the Monster and his Citizen Kane, Plan 9 from Outer Space. All three films are on the Mount Rushmore of so-bad-they-are-good movie classics. Wood’s best qualities may have been his enthusiasm and an ability to build a stable of oddball friends who took part in his projects. Burton has managed to craft both a moving tribute to a talentless dreamer and a perfect scene-for-scene recreation of those hilarious films.
The film is shot in gorgeous black and white by cinematographer Stefan Czapsky (Last Exit to Brooklyn), and instead of the usual Danny Elfman score this one is provided by Howard Shore (Lord of the Rings), who brings a fun mix of sci-fi and conga room. Based on the book Nightmare of Ecstasy by Rudolph Grey, the script was written by the screenwriting duo of Scott Alexander and Larry Karaszewski (who were hot in the quirky bio business, also penning The People vs. Larry Flynt and Man on the Moon, as well as the Problem Child movies and TV series). Ed Wood marks the second of at least seven films Burton has made with Johnny Depp. And the casting of Depp at the time was really ingenious; who knew the pretty-boy had such creative chops? Depp wonderfully infuses Wood with an ah-shucks charm; everything seems to give Wood zeal. Always the optimist, Wood believes in everything, whether it’s his inept actors, sets, shots or his girlfriend’s sweaters--or the belief in the stardom of Lugosi who, at this point, was a heroin addict with failing health and is played beautifully by Martin Landau. When Wood sees Criswell (Jeffrey Jones), a TV psychic, make ridiculous predictions, he believes him. He spots Swedish wrestler Tor Johnson (George "The Animal" Steele) in the ring, and instantly sees a great actor. And these random people that Wood meets along the way and in whom he believes join him in his own dream of making movies, and in turn believe in him. It's a motley group that includes Bunny Breckinridge (Bill Murray), a homosexual in search of a sex change operation who is most memorable as The Ruler in Plan 9 from Outer Space, and eventually the horror show hostess Vampira (Lisa Marie), plus assorted goofy crew members. They forge an "Island of Misfit Toys" style family; think Wes Anderson without all the preciousness.Continue Reading
A lot of directors who worked with Joan Crawford probably thought they had tapped into whatever unique strain of neurosis made her “La Joan” in order to get the best performance out of her in their films. She had always played a version of herself throughout her career, whether as a jazz crazy flapper in her silent films, a shop girl looking to marry up in her 1930s films, and in the double-crossed dame roles she took on in the hardboiled noirs of the 1940s. By the fifties, the Joker-esque lipstick started to appear, looking all the more frightening in Technicolor, and her eyebrows reached new levels of ferocity. I think of this as her middle-aged gender bending period. It seems to me that a lot of middle-aged American women start to look kind of androgynous after awhile out of what I always assumed was a weary resignation to having to keep up the scopophilic charade but Joan’s particular version of androgyny seemed more trenchant than that. It was kind of accidentally subversive. Or what the hell do I know? She may have been totally onboard as a proto-transgender performance artist. Maybe she was the first Ziggy Stardust and we weren’t hip enough to catch on. Well, whatever was going on no director found the resolute queerness of Joan’s 1950s persona quite like Nicholas Ray did with his weird western Johnny Guitar.
Joan had plenty of experience playing ball busters and vamps, but she had never played a character quite like Vienna, the saloon owner whom everyone in town seems to want gone. Vienna wears high-waisted black pants and boots, a bolo tie, and a holstered gun. She employs a staff of men who seem weary of having such a powerful female boss. All day they spin the roulette wheel in her club, even though there are no gamblers, and they serve drinks at her bar even though there are no drinkers. A former flame of Vienna’s named Johnny Guitar (played by Sterling Hayden) is ostensibly hired to strum some tunes for her clientele. But there's never anyone there, except for the nefarious bank-robbing gang that hangs out at Vienna’s including members with names like The Dancin’ Kid and a guy named Turkey. So yes we have Vienna, Johnny Guitar, the Dancin’ Kid, and Turkey--just for starters.Continue Reading