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).
Back in the day, if there was one historical injustice that could get any red blooded film-geek or cinaphile extremely agitated, it was the fact that Martin Scorsese had not won an Oscar. Of course in 2006, he finally did win for the overrated The Departed, putting that controversy to bed. But before that, film-geeks would foam at the mouth, especially knowing that the Godly director had lost twice to actors making their directing debuts.
In 1990, Goodfellas was robbed by Kevin Costner's goody-goody Western Dances With Wolves. And ten years earlier Raging Bull lost to Robert Redford’s Ordinary People.Continue Reading
When sci-fi is working properly it’s as a longer narrative form of the philosophical thought experiment, tweaking certain variables of existence while holding others constant to see where the manipulation leads. Sadly, the cinematic variety rarely does this, instead being an excuse for replacing bullets and criminals with lasers and alien monsters in what amounts to little more than just another action spectacle. So, it’s a good thing when a movie like Moon comes along, however modest its ambition, preferring to explore thought over action. Make no mistake, it falls well short of the ontological resonance of its two primary influences, 2001 and Solaris, but nonetheless gives the viewer a good bit to mull over, which is fine by me.
In the not too distant future, Earth’s scientists have found a solution to the present day’s energy crisis, mining something called Helium-3 from the moon. The governmental/corporate means of production for this involve mostly robot digging contraptions, but with a single human who has “signed up” for a three-year stint to make sure everything is running smoothly. Now, three years with nothing but books, models, an endless supply of '50s sitcoms and the ability to romp on the moon sounds pretty good to me, but I guess it would get a good deal lonesome for most. Thus, instead of paying volunteers, a series of clones are used, which are all based on one person, Sam Bell (Sam Rockwell). With only a HAL-like robot called GERTY (voiced by Kevin Spacey) to keep him company, Sam’ (to distinguish this one from the original) whiles away the time in the aforementioned manners, occasionally receiving a transmission from Earth or having to do repairs on the diggers (as relayed by his robotic assistant). It’s on one such repair mission that things become philosophically interesting.Continue Reading
Cries and Whispers
"In the screenplay, it says that red represents for me the interior of the soul. When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke....But inside the dragon, everything was red." -- Ingmar Bergman
For most of Ingmar Bergman’s career, the decision to shoot in black and white, both before and after Cries and Whispers, has been one of choice and trust. The delight of seeing his vision in color is not simply based on color itself but of his use of it in the film. Like a poet, Bergman decided to look past what color can mean for the eyes alone, to its purpose to help us understand and appreciate life, death, and the soul.Continue Reading
Who’s That Knocking On My Door
"A broad. You know, there are girls, and then there are broads. A broad isn't exactly a virgin, you know what I mean? You play around with them...You don't marry a broad..." -- Who's That Knocking At My Door
Who’s That Knocking At My Door, directed and co-written by Martin Scorsese, has had various names, influences, and spans of time in which it was filmed. One thing that leaves no question is that for Scorsese and Harvey Keitel’s first feature-film, it is an ambitious and carefully executed debut that will leave you wanting more. Keitel plays J.R., an average Italian-American whose idea of a good time is romping around with his friends and persuing “broads.” All that changes when he meets a beautiful and traditional girl (Zina Bethune) whose purity is so alluring that he cannot help but get involved. His Catholic classification of women to be the “Madonna or the whore” ignites an inspiration not only to be a gentleman, but also to offer up a willingness to settle for such a girl. But when a secret from her past distorts the fine lines he thought every woman could be defined by, J.R. must confront and break down everything he once understood about affection and his convictions.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
If you like your ultra-violence with a pulse, you must see Sam Peckinpah’s Straw Dogs—the tale of David and Amy Sumner, played with fervor by Dustin Hoffman and Susan George. Unlike Hoffman’s more well-known portrayals of a man with wisdom and/or humor, his performance in the film produces a chill and admiration that could rival with any cold-blooded killer onscreen. He plays a mathematician who, with his wife, decides to take up residency in her native village of rural England. A place that seems peaceful, yet is nothing but—occupied with Cornish thugs, rat-breeders, tyrants and more than one sexual deviant.
While trying to find relaxation and work on their marriage and his profession, the two find themselves in a vicious and animalistic race to restore peace, David’s masculinity, and to survive. After days of passive-aggressive plots, spiteful conversation, and violence against women, a local girl goes missing. The man suspected of her demise, Henry Niles (David Warner), the town metal-handicap, winds up in the Sumner’s custody one evening. While protecting him in his home, a war unfolds between Sumner and the village thugs, unleashing a competition of wit vs. experience that sends more than one man to their graves.Continue Reading
At age 22, Britain's "most violent criminal" Charles Bronson (nÃ© Michael Peterson, who initially took the name for his short-lived boxing career and then had it legally changed; here played by Tom Hardy) began serving a 7-year sentence for armed robbery. The year was 1974, less than 2 years after Stanley Kubrick pulled his movie Clockwork Orange from the theaters due to death threats. With the exception of just over 4 months, Bronson has spent the last 35 years as a ward of the state, all but 4 of them in solitary confinement. This extended sentence has to do with his seeming love of violence for violence's sake, something like the performance art of an evil Andy Kaufman. As such, he's a child of Alex de Large, or an Agent Orange -- that is, one whose real life lends itself to Kubrick's satire. Or, at least, that's how Bronson's director Refn takes it (some of Bronson's victims tend to approach his nature a little less abstractly). Therefore, Refn gives us Clockwork Orange's malevolent juxtapositions of barbarity and high-toned culture, gravitas and cornball pop tunes, with a comic book color palette and told through the wide-angled, symmetrical perspective of a demented narrator in clown makeup. Not exactly original, but like Cape Fear was to Hitchcock, livelier than most other films that don't steal from only one source.Continue Reading
Cradle Will Rock
Cradle Will Rock belongs to that class of movies that don’t particularly offend anyone or bomb big enough to become a notorious flop; nor was it greeted with a ton of enthusiasm. Considering the talent involved with the film—Tim Robbins, Bill Murray, John and Joan Cusack, and Susan Sarandon, to name but a few—the mild applause the film seemed to generate upon its release was kind of like damning with faint praise. I never understood this because I find Cradle Will Rock to be a whole lot of fun, while at the same time serving as a pointed critique of the political apathy prevalent in art today.
The film tells the story of one of the most mythologized theatrical events of the 20th century. No surprise that Orson Welles was directly involved then. We’re in New York in 1937 and the city seems to be the epicenter of a massive upheaval in society at large. There is labor unrest, growing unease about global fascism, and a gnawing sense that capitalism has failed the common interests of the average citizen. (Hey, maybe the film is due for a critical re-appreciation after all…)Continue Reading
Sweet Smell of Success
I tend to sum up Sweet Smell of Success by saying that it’s sort of the alpha male version of All About Eve. It’s a movie about men and envy and wanting to be numero uno at all costs. But really the star and thematic center of the film is New York. It’s sharply written and gorgeously photographed as a city full of shysters, whores, crooked cops, and naïve cigarette girls, with the city’s truly powerful people wielding their influence like back alley thugs. For all the neon-lit corruption it makes the New York of the late-1950s look like a terribly exciting place to be. It’s an after-dark town with a hot Jazz score soundtracking a desperate populace thieving, scheming, and hustling—the quintessential Dark City that Noir dreams are made of. As the terrifyingly important J.J. Hunsucker, New York’s most powerful gossip columnist (played by the imposing Burt Lancaster), says with true affection, “I love this dirty town.”
Hunsucker’s column attracts 60 million daily readers and he relishes his ability to make or break anyone he chooses. He’s a sociopath in a nice suit who strikes fear into the hearts of the major players in the worlds of entertainment and politics. Tony Curtis is Sidney Falco, a hungry press agent desperate for a piece of the Hunsucker pie. His world is a 24-7 confidence game where he feeds the dupes on his payroll line after line about how they’re next in line to get mentioned in Hunsucker’s column. But J.J. likes making Sidney squirm for his supper—he cuts him out of the loop entirely so that Sidney will do just about anything to get back in J.J.’s favor.Continue Reading
What happened to Jonathan Demme? He used to make the best movies. I’m talking about the films he did before Silence of the Lambs changed his life and career options for good. Perhaps regretting his film's instigation of a wave of serial killer-based entertainments, he got very high-minded after Silence of the Lambs and kept returning with more Oscar bait in the form of Philadelphia, which continued his winning streak, and Beloved, which did not. Since then he has alternated between director-for-hire projects and small scale documentaries, before returning to something like his old style with last year’s Rachel Getting Married. But nothing he has done in years has been as good as the comedies he did in the late 1980s. They were exuberant life-affirming spectacles. He brought a New York downtowner’s aesthetic to mainstream comedy and lifted up a dreary end of the decade—a time best remembered for comedies that celebrated getting rich or blowing shit up—with an offbeat sensibility. He was like an American Pedro Almodovar in love with the idea of New York as a melting pot of bohemians and working class immigrants, all tuned in to the same Afrobeat soundtrack. His New York was full of loud colors, Jamaican beauty salons, and cool people—one big punky reggae party.
Something Wild is his best film. It’s a film that celebrates a life lived without rules before segueing into darker territory exploring the same themes. Jeff Daniels plays Charlie, a nice guy yuppie in Manhattan that gets his kicks walking out on his lunch bill. Melanie Griffith is Lulu—she’s got the famous Louise Brooks bob and lots of Voodoo priestess jewelry on. She’s an edgy chick who catches on to Daniels’s pathetic act of rebellion immediately. She threatens to rat him out if he doesn’t get in her car and see where the day takes them. She’s going to teach him a thing or two about wild. Pretty soon they’re naked in a hotel room and she’s making him call his office while she otherwise distracts him. The scene is playful and sexy, rather than obvious, because Lulu isn’t objectified as Charlie’s "manic pixie dream girl" who teaches him to live; instead she’s the one in charge. The scene is more about Lulu’s fetishizing of Charlie’s straightness than anything, though we get the feeling that Charlie has been looking for someone like Lulu all along. It’s the complete opposite of how most straight male directors would have played the scene and just one of the details that make this film unique.Continue Reading