Handpicked By The Amoeba Staff

Films selected and reviewed by discerning movie buffs, television junkies, and documentary diehards (a.k.a. our staff).

Clash of the Titans (1981)

Dir: Desmond Davis, 1981. Starring: Harry Hamlin, Judi Bowker, Burgess Meredith, Maggie Smith, Laurence Olivier. Fantasy.

CLASH DANCE The well known and much revered stop-motion special effects guru Ray Harryhausen has brought numerous beings of various shapes and sizes to life over his career (The 3 Worlds of Gulliver, Jason and the Argonauts, Sinbad and the Eye of the Tiger). In the mythological world of Clash of the Titans there are many interesting characters and creatures. Playing God behind the camera one frame at a time, Harryhausen has brought some of his most memorable offspring to life (Medusa, Pegasus, Giant Scorpions, the Kracken).

STORYLINE OF THE GODS Here’s the deal, Zeus (Laurence Olivier), in one of his many amorous exploits, has had a son named Perseus (Harry Hamlin). Due to Zeus’ favoritism of Perseus over the Goddess Thetis’ (Maggie Smith) son Calibos, a clash begins [insert opening credits and dramatic musical score here]. From that point on Perseus sets out on a quest to "fulfill his destiny" by defeating numerous obstacles, slaying fantastic beasts, and winning the hand of the doll-faced Andromeda (Judi Bowker). The script was penned by Beverly Cross who also scripted other Harryhausen films such as Argonauts and Eye of the Tiger.

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Posted by:
Joey Jenkins
Mar 29, 2010 11:32am

Beetlejuice

Dir: Tim Burton, Starring: Alec Baldwin, Geena Davis, Winona Ryder, Michael Keaton, Catherine O’Hara. Fantasy.

THIS JUICE BUGZ Somewhere between Pee-Wee's Big Adventure and Batman there is Tim Burton’s feature length sophomore effort, Beetlejuice. Upon a recent rewatch, I realized I’d forgotten how truly amazing, wildly inventive and original this phantasmagoric odd-ball comedy was! It’s quite frankly the purest Burton experience for me. It’s just silly how much of JUICE’s visual language oozes with Burtonisms! Add to that the sweet (as in cool) dialogue and characters created by co-authors Michael McDowell and Larry Wilson. I’m kinda in love with it lately!

THE DIRT ON THE DEAD… Adam and Barbara Maitland just died. Played with great wholesomeness by Alec Baldwin (Adam) and Geena Davis (Barbara). So they die. But for a while they don’t know it. It becomes more apparent to them when they find a copy of the Handbook For The Recently Deceased laying around the house and the rude awakening that the Deetz’ are the new occupants and owners of their house! The Deetz family comprises of the artistically manic Delia (Catherine O’Hara), her uptight hubby Charles (Jeffrey Jones), and their ever morbidly morose daughter Lydia (Winona Ryder).

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Posted by:
Joey Jenkins
Mar 26, 2010 6:51pm

Over The Edge

Dir: Jonathan Kaplan, 1979. Starring: Michael Kramer, Matt Dillon, Pamela Ludwig. Cult.

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).

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Posted by:
Sean Sweeney
Mar 26, 2010 11:14am

The Big Heat

Dir: Fritz Lang, 1953. Starring: Glenn Ford, Gloria Grahame, Jocelyn Brando, Lee Marvin. Film Noir

Film noir is a style, genre, atmosphere, whatever, often synonymous with a dizzying amount of plot twists, shadowy visuals, and double and triple crosses interwoven into spider web of a plot. But in some of the most memorable examples of film noir certain filmmakers took a more, well, direct approach. The Big Heat is a lean, stripped down revenge story without the murky lighting and wafting smoke of rotten glamour that permeates many a classic film noir. The visual style is flat, the plot is relatively straightforward, but make no mistake, it’s a film that pulsates with paranoid intensity. Lang would return over and over to the trio of themes best spelled out in the title song of his weird western, Rancho Notorious:  “murder, hatred and revenge.” He liked to chronicle the way that an obsessive need for revenge can turn men into that which they despise.

Before Dirty Harry there was The Big Heat’s Sgt. Bannion, an honest cop in a nameless city in the stranglehold of corruption at every level. Bannion doesn’t mince words and takes relish in stepping on the toes of every person he’s not supposed to mess with. A police captain dies under mysterious circumstances. His mistress meets Bannion for a drink and tells him she thinks he was murdered. This sparks Bannion’s investigation into a conspiracy that ensnares almost everyone in power surrounding him. When the mob retaliates in the most horrifically personal way imaginable Bannion’s crusade takes on a deranged quality. He’ll stop at nothing until he takes down Italian dandy crime boss Mike Lagana any way he can. When a ditzy girlfriend of one of Lagana’s thugs decides to help Bannion she becomes just one in a line of many victims whose personal sacrifice for Bannion’s crusade means almost nothing to him.

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Posted by:
Jed Leland
Mar 24, 2010 2:19pm

Samurai Jack Season 3

Dir: Genndy Tartakovsky, 2002. Adult Animation.

Admittedly, the show Samurai Jack does not seem worth getting into if giving it a quick glance. What with its child-like premise, silly title, and kind of annoying theme song, it would be easy to pile it together with all the other harmless cartoons that come and go. But to do so would mean to miss out on some of the best writing and certainly best direction, cartoon or otherwise, in the action genre. During its four year run, the story of an ancient samurai thrown into the future followed in the footsteps of other great hero journeys like Star Wars or Conan The Barbarian and reached the height of its potential in the Season Three, two-part episode "Birth of Evil."

Part One begins thousands of years in the past, somewhere in the cosmos, where three gods battle a formless, dark evil. One of the things that Samurai Jack has done so well is prove how gripping a simple good vs. evil story can be. There’s never any doubt in the show who the good guys or bad guys are, which is contrary to so much entertainment that likes to paint too much in gray. Most likely this happens so often for two reasons: one, because it seems more interesting to not know who to cheer for or to sympathize with the villain; and two, because we fear moral absolutes. But stories of good and evil work so well because they go beyond the skeletons in our closets and into a force larger than us, so well depicted in the opening of this show. But unfortunately for the three gods in battle, and the inhabitants of Earth, a tiny piece of this beast breaks off and makes its way toward our home.

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Posted by:
Eric Branscum
Mar 23, 2010 2:27pm

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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Posted by:
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. Chloë 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

Ghostwatch

Dir: Lesley Manning, 1992. Starring: Imports

It’s hard to talk about the scariest movie of all time, just like it’s hard to talk about the funniest. Once you claim what it is people will have every other horror movie they’ve ever seen to compare it to and since the title of "scariest" is so subjective it all comes down to each person's experience. So in this case, I must go past personal experience and try to somehow justify why Ghostwatch scared me more than anything.

Over the last couple of years a lot of "found footage" movies have popped up. Some have been great and some have not, but all of them are outdated by Ghostwatch. In 1992 on Halloween, the BBC aired a special program about the most haunted house in England. News reporters were to take you inside and show you what ghostly goings-on were taking place and supposedly, while it was airing, a massive terror spread through England as children and adults alike thought that what they were watching was real. But it was not. It was a totally fictional program about a mother and her two daughters who were haunted by an old tenant that the children call Mr. Pipes (after their mother tells them that the noises they are hearing are just the pipes rattling). But once the media shows up, Mr. Pipes isn’t too happy and decides that if what they want is terror, then that’s what they’ll get.

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Posted by:
Eric Branscum
Mar 18, 2010 11:53am

Ghosts...of the Civil Dead

Dir: John Hillcoat,1988. Starring: David Field, Nick Cave, Dave Mason. Imports.

"You can only push a man so far before he pushes back," proclaims one of the more orderly prisoners in John Hillcoat’s Ghosts…of the Civil Dead. This line is one I’m sure I’ve heard dozens of times in films, but never more fully realized as when the violence and tension in the prison in which the film is set reaches a sort of chaotic resolution. The character in question is one of two prisoners whom the audience meets right at the start of the film, both of whom act as a common man that represent the two paths one is headed for when stuck in such an environment. One leads to murder and the other to suicide. And that’s not to say these are respectable people who don’t deserve their time in jail (we never discover what they are in for), but as the same aggressions and fears begin to show up in the guards' behavior, something clearly needs to change.

Apparently based on real events, Ghosts is an account of the events in a prison that lead to a total lockdown, confining the inmates entirely within their cells, and then to deathly acts of violence. Working as a sort of visual diary, we are taken through a series of seemingly unconnected events that, while not forming a narrative, show a clear route for the derangement that evolves. One such evolution is how physical recreation changes as prisoners continually take advantage of what freedoms are given them. First, the outdoor areas are closed off after a stabbing, restricting exercise to indoors, and then a fence is put up to further constrain them. This literal cage, as several of them point out, only solidifies their belief that they are no better than animals. Obviously prison is just a big cage anyway and the film isn’t trying to humanize clearly deranged people, but if something is clearly broken, it must need fixing. Sure the film doesn’t offer any easy answers but it is most certainly asking hard questions about what potentially is in all of us.

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Posted by:
Eric Branscum
Mar 18, 2010 11:39am

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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Posted by:
Edythe Smith
Mar 16, 2010 3:52pm
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