Handpicked By The Amoeba Staff

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

Guilty of Romance

Dir: Shion Sono. Starring: Megumi Kagurazaka, Miki Mitzuno, Satoshi Nikaido, Makoto Togashi. Asian Cinema/Mystery-Thriller.

Whenever you find a film that is based on actual events or someone's life, with the exclusion of biopics, I highly recommend giving it your time. It's similar to the interest piqued from a movie based on a book you find yourself drawn to, but much more involving. This is perhaps due to - and heightened by - the interest from the director. To consider that there is someone's story out there that captivates a filmmaker to the point that they are willing to spend thousands, if not millions, of dollars funding a work that will tell this story the way they imagine it in their mind after (hopefully) researching the events leading to it is, in all seriousness, a wonderful thing. Of course, the director needs to be someone you trust to tell this story—and what better example than Shion Sono and the grizzly tale of a woman on the brink of sexual discovery in a repressed society that can and will eat the faint at heart for breakfast.

Opening with “On the eve of the 21st century...,” Guilty of Romance takes off at a hurried run as a detective (Miki Mitzuno) stumbles upon a bizarre crime that would rattle even the most experienced among her profession. The remains of a woman are found in various locations known for being the playground of anyone keen on prancing through the erotic underworld. The fact that a murder took place there isn't necessarily jarring. The fact that the remains were partial and attached to a mannequin dressed like a schoolgirl was.

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Posted by:
Edythe Smith
Mar 11, 2014 2:42pm

The Woodsman

Dir: Nicole Kassell, 2004. Starring: Kevin Bacon, Kyra Sedgwick, Mos Def, David Alan Grier, Benjamin Bratt. Drama.

Redemption is a complex thing. Our quest to find and observe it is even more multifaceted and often biased. We are drawn to stories where characters have redeeming qualities or, at the end of some relevant venture, find redemption in an act, thought, or belief. Usually this is something that your average person can relate to; a person coming into the dizzying territory of adopting a sense of selflessness or virtue—maybe making some wrong right. But who can relate to a story where someone who has done something as deplorable as molesting a child strives to find a way to redeem himself? Who even thinks they can sit through a film where this is obviously the end goal? Unfortunately the answer could very well be not many, but The Woodsman, should one feel comfortable enough with their own sense of self, is one of the finest stories about this quest that is not only overlooked, but avoided.

Kevin Bacon takes on the most dynamic role of his career thus far as Walter, a man just released from a 12-year prison sentence for molesting pre-teen girls. He finds work at a lumber yard run by Bob (David Alan Grier), who takes him on simply because he inherited the company and knows that Walter gave years of excellent service to his father. Though he has the jaded look of a man who has obviously come from prison, his coworkers are unaware of his crimes and don't care to pry except for Mary-Kay (played by singer-songwriter Eve), the office secretary who wants to know everyone's business and makes false friends in order to do so. In the midst of his daily routine Walter meets Vicki (Kyra Sedgwick), a spunky blonde struggling to hold her own in a male-dominated field. Her seen-it-all demeanor and harmlessly invasive conversation leads her to be his only confident and, in time, lover.

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Posted by:
Edythe Smith
Mar 11, 2014 2:25pm

The Filth & The Fury

Dir: Julian Temple, 1999. Starring: The Sex Pistols. Documentaries.

“Because the work, at the end of the day, is what matters…and we managed to offend all the people we were f***ing fed up with.”

– Johnny Rotten

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Posted by:
Matt Messbarger
Mar 7, 2014 2:59pm

We Are The World: The Story Behind The Song

Dir: Tom Trbovich, 1985. Documentaries.

Billy Joel famously told Rolling Stone magazine that most of the singers didn’t actually like the song and that “Cyndi Lauper leaned over to him and said, 'It sounds like a Pepsi commercial.'" Of course the song is pretty lame, but the spectacle of the one-night-only super-group, USA For Africa, recording the otherwise forgettable song, “We Are The World,” is one of pop music's most bizarre and fascinating stories. The infomercial/documentary We Are The World: The Story Behind The Song, hosted by Jane Fonda in the same stagey '80s home-video visual style as her hot selling aerobicizing videos, runs at a sparse 52 minutes (though the DVD is packed with extras on two discs), but I could have easily watched three more hours. It’s truly the greatest line-up in music history.

Back in 1984 Bob Geldof of the British band The Boomtown Rats became aware of the horrible starvation going on in Ethiopia and he gathered a bunch of his countrymen (and a few Americans) to record the wonderful little song “Do They Know It’s Christmas?” Calling themselves Band Aid, the super group was made up of then hot singers including Sting, Bono, George Michael, Phil Collins, Boy GeorgeSpandau Ballet, Duran Duran, Jody Watley, and a couple guys from Kool & The Gang. There were no older British super legends, it was the kids. No Bowie, no Elton John, no Jagger, not even a Ringo Starr. The song helped raise money and brought attention to the issue of African famine and, at the time, was the biggest selling UK single ever.

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Posted by:
Sean Sweeney
Feb 27, 2014 4:52pm

Serpico

Dir: Sidney Lumet, 1973. Starring: AL Pacino, John Randolph, Tony Roberts. Drama.

Al Pacino played his first cop in Serpico and, by my count, would go on to do it six more times in Cruising, Sea of Love, Heat, Insomnia, Righteous Kill, and something called The Son of No One. (He’s played a criminal in twice as many films.) It’s fair to say that at the time Serpico was released there had never been an on screen cop like this one. It was Pacino’s most Dustin Hoffman-like performance (back in those days they were compared to each other, for good reason). In Serpico, Pacino seemed shorter than usual, his back was humped, his voice more nasally, and his Elliott Gould mustache early in the film grows into a full on scraggily beard. Serpico was an oddball cop who liked ballet, lived with the freaks in the Village, had a dog instead of a baby, and most weird of all, wouldn’t take a payoff. In New York that was enough to almost get you killed. 

Serpico’s story take place in the '60s, which was a time of unprecedented police brutality. In the South civil rights workers were being abused by cops. In the North racist big city cops were continually harassing black citizens which led to many major uprisings (or riots). Vietnam protesters in Chicago were faced with Gestapo tactics on national television. The film was an unflinching look at the underbelly of a police force that differed so much from the propaganda Hollywood had given us about cops on TV and films for decades. The film was based on the hard-hitting, best-selling biography of Detective Frank Serpico by Peter Maas (King of the Gypsies), with a screenplay by Waldo Salt (Midnight Cowboy) and Norman Wexler (Saturday Night Fever). The great New York director Sidney Lumet (Network) took over production after John G. Avildsen (Rocky) was fired. Lumet brought his signature grit to the look and, as usual, elicited truthful performances from the cast. 

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Posted by:
Sean Sweeney
Feb 24, 2014 5:49pm

Lady Sings the Blues

Dir: Sidney J. Furie, 1972. Starring: Diana Ross, Billy Dee Williams, Richard Pryor. Black Cinema.

The most celebrated singer-turned-actor performance ever might be Frank Sinatra in From Here to Eternity. It revived his career and was a turning point in his legacy as he moved from a teenybopper idol to the more mature crooner he is best remembered for today (and he followed it shortly with another important performance in The Man with The Golden Arm). But Sinatra had been acting in musical films for years (On The Town). In terms of degree of difficulty, for a first major role Bjork’s performance in the torture-fest sorta-musical Dancer in the Dark is certainly impressive and many singers have gone on to have their film careers eclipse their singing success (Cher, Mark Wahlberg, Will Smith, and to some extent Bing Crosby and Barbra Streisand). But the most audacious acting debut from a mega-star singer has to be Diana Ross taking on the role of troubled iconic jazz singer Billie Holiday in Lady Sings the Blues. Directed by journeyman director Sidney J. Furie (The Ipcress File, The Boys in Company C) and based on Holiday’s own (said to be mostly fictional) autobiography, Ross throws herself into the role with aplomb, having to go to emotional depths that would challenge even the most veteran thespian. The film also made a kinda-star of her leading man, Billy Dee Williams, and helped establish a movie career for stand-up comedian Richard Pryor. Executive produced by Motown founder Berry Gordy Jr, it was the first flick made under the Motown banner and it would also prove to be the apex of the the historic record company’s forays into filmmaking.

Lady Sings the Blues is a mostly typical music bio in that it's one of those classic “rags-to-riches-to-total self destruction” stories. No matter how many times I’ve seen this kind of tale, if the lead performance is dynamite, I’ll buy in. I don’t know how much of it is actually true but it’s still a doozy of a rollercoaster ride. After being raped as a girl, Billie took the only jobs that seemed to be available for a young black woman during The Depression: a cleaning woman and a prostitute. She eventually talked her way into singing in a little smokey nightclub where she meets her dream man, Louis (Williams), and catches the attention of a couple of white musicians who take her on the road to build up her name and also turn her on to drugs. The film seems to be more fascinated with Billie’s messy and ugly personal life than her voice, which most experts rate as one of the most seminal and important of the twentieth century. As Billie climbs the stardom ladder she is met with racism and humiliation, with her devoted but frustrated husband Louis lending support. (Though he comes off as Mr Wonderful here, it’s been reported that in real life Billie’s husband was just as much of a creep as the other men who exploited her. Ironically he was a technical advisor for the film, which may explain the whitewash.) Billie continues to sing her way to the top, but she falls deeper and deeper into heroine addiction. Her only friend appears to be her piano player (real life junkie Pryor, excellent here in a supporting role). Of course Pryor would reveal his own special kind of genius later with his two landmark concert films, Richard Pryor Live in Concert and Richard Pryor Live on the Sunset Strip. Hospital stays, arrests and even true love aren’t enough to end the torture for Billie. Though she does have a triumphant Carnagie Hall comeback show, it’s still a story of another legend dying young.

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Posted by:
Sean Sweeney
Feb 20, 2014 12:51pm

Rollercoaster

Dir: James Goldstone, 1977. Starring: George Segal, Timothy Bottoms, Richard Widmark, Henry Fonda. Cult.

Situated somewhere in the middle of two closely related movie trends of the 1970s - the "All-Star Cast Disaster Movie" (The Poseidon Adventure, The Towering Inferno, Earthquake) and the "Terrorist Disaster Movie" (Two-Minute Warning, Skyjacked, Black Sunday) - Rollercoaster from 1977 nestles nicely in its own netherworld, not realizing that the genre was running out of steam (Beyond The Poseidon Adventure anyone?). Although the "Disaster Movie" would continue to reemerge in Hollywood for decades under new guises (Independence Day, 2012, Dante’s Peak, etc.), its Golden Age was really when a guy like George Kennedy or Charlton Heston was at the rudder and stars from Hollywood’s Golden Age were still available to be carted in on their wheelchairs to make an appearance and collect their checks. Rollercoaster did manage to dig up a couple of legends (Richard Widmark and Henry Fonda) and a sorta cult name actress (Susan Strasberg, maybe more famous as the daughter of Actor’s Studio guru Lee Strasberg), along with a pair of '70s names (George Segal and Timothy Bottoms). Director James Goldstone, whose most important credit may actually be the second pilot of the Star Trek TV series, manages to employ some Alfred Hitchcock cat-and-mouse tricks to generate suspense and give a dying genre a last gasp of breath.

To think that Bottoms started the decade off with two great movies (The Last Picture Show and The Paper Chase), in Rollercoaster he plays “Young Man,” a zombie-like psycho who is blowing up rollercoasters around the country in order to extort a million dollar ransom from the companies that own the parks. After an explosion on a rollercoaster, ride-inspector Harry Calder (Segal) is the first to figure out that this was no accident. He’s a regular guy with a teenage daughter (Helen Hunt, in her first movie) whom he often pawns off on his girlfriend (Strasberg), and a deep anti-authority complex, to the chagrin of his hateful boss (a brief Fonda clearly trying to up his SAG pension numbers). Bottoms makes Segal his point man as he threatens more bombings and the FBI joins him, with the angriest FBI head-man of all time (played by the one time great Widmark, who just spews intensity here) who seems to hate Segal even more than Fonda. The highlight is an intense scene in an amusement park, as Segal is forced to deliver money to Bottoms and instead ends up carrying a bomb onto a coaster. It all leads to Segal having to argue with the dumbbells in charge of the investigation and a showdown with the terrorist who looks to ruin the upcoming 4th of July festivities at one of the many possible amusement parks in America (and he does end up slightly disrupting the big Sparks concert at Six Flags Magic Mountain).

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Posted by:
Sean Sweeney
Feb 11, 2014 2:44pm

The Punk Singer

Dir: Sini Anderson, 2013. Starring: Kathleen Hanna, Carrie Brownstein, Kim Gordon. Documentaries.

Cults can be wonderful, as The Punk Singer—Sini Anderson’s admirably idolatrous celebration of punker Kathleen Hanna—makes clear. Hanna always inspired a devoted few and it never seemed to matter if her fundamentalist fervor, totally understandable hypocrisies, or bratty indifference to anything more politically nuanced than “Suck My Left One” made her look simplistic to outsiders who wondered what the fuss was about. Hanna’s fans did not care and honestly I salute them. As The Punk Singer makes clear, once the Riot Grrrl movement got national media attention and some stories were written that Hanna’s band Bikini Kill disapproved of they reacted with a media blackout. They stopped talking to journalists because it was assumed they couldn’t be trusted to “get it.” As one of her next band’s (Le Tigre) songs went: “It’s just a joke man; it’s just an interview. You wouldn’t get it; I guess this shit is too new.”

Well, yes and no. Though little is said about the punk front women who preceded the punk of The Punk Singer, there were tons! Where to begin? Ari Up, Poly Styrene—it would be useless to even attempt to cover those bases here. But suffice to say Hanna worshipped those women even if the film about her doesn’t credit them for blazing a trail for her to follow. Still, Hanna was undeniably captivating right from the start. She looked great and she made people uncomfortable which is a really good combination for anyone fronting a rock n’ roll band.

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Posted by:
Matt Messbarger
Feb 11, 2014 2:32pm

Nothing But a Man

Dir: Michael Roemer, 1964. Starring: Ivan Dixon, Abbey Lincoln, Julius Harris. Black Cinema.

"They don't sound human, do they?" - Duff Anderson

When I was a kid, movies took up a big slice of my daily routine. I was an introverted introvert with nary a friend to call my own. Pop's wasn't around so that left my mom, sister and our RCA television to raise me. I was devouring movies at such an alarming rate my mother began to worry. But that's what mothers do; they worry about their children - especially African mothers. (How will she ever get a grandchild from someone who prays to a TV set?) By the time I was seventeen, I was a self-proclaimed film buff. (Not like I had anything else going for me.) I openly mocked peers with my cinema prowess, brandishing pithy one-liners and pop culture references to put them in their place. But one of those underlings asked an interesting question: "What was my favorite film on African American life?" It made me ponder how much Black cinema I've actually seen. The answer startled me. Now, outside of John Singleton, the Hughes Brothers, some Blaxploitation movies and the occasional Spike Lee joint, there weren't that many I was exposed to. I blamed it on the fact that compared to others, African American movies were far and few between. Heck, I saw more movies from Alfred Hitchcock than all the directors I named above combined. But that was lazy and actually quite inaccurate. There was plenty of gold to be had. So I started to dig. Nothing But A Man was one of those gems I discovered. Now this may come off as hyperbolical fluff but I honestly believe this is not only one of the best films on African American life, but American life, period. I never liked the distinction between the two anyway. It's rare to see a film on this subject handled with such tact and elegance - a quiet, sensitive piece with the delicacy and finesse of a Swiss watch.

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Posted by:
Aiah Samba
Jan 23, 2014 5:43pm

Julius Caesar

Dir: Joseph Mankiewicz, 1953. Starring: Marlon Brando, James Mason, John Gielgud, Louis Calhern, Greer Garson. Classics.

The DVD of the 1953 Hollywood version of Julius Caesar directed by the underrated Joseph Mankiewicz (All About Eve) has been relegated to old-time Shakespeare buffs and students not wanting to sludge through actually reading the play. And yes, it looks a little stagey and feels a little dated and stiff, but it’s still a politically relevant play and has one of the most fascinating casts ever assembled for a Shakespeare adaption. Headlined by a young buck in only his fourth film, Marlon Brando absolutely dominates the veteran cast around him and proves his genius. His performance alone makes the film more than watchable, and luckily there are a few other treasures to be found in it.

The now familiar plot goes something like this... worried the head dog of Rome, Julius Caesar (Louis Calhern), was getting a little too powerful, his fellow politicians decide to kill him, led by the conniving Cassius (John Gielgud). Even Caesar’s good friend Brutus (James Mason) is convinced to join in the plot for the best of the Republic. The Senators all take turns stabbing Caesar (done mostly just off screen). After his death, Mark Antony (Brando), who was not part of the cabal and admired Caesar, is allowed to give a speech at his funeral only after agreeing to not implicate anyone. Brutus must deal with the nagging guilt, his still conspiring allies, and his wife Portia (Deborah Kerr). When Antony delivers the famous “Friends, Romans, Countrymen, lend me your ears speech” he convinces the crowd, using pure sarcasm and coded words, who is to blame for the murder. The speech is the centerpiece of the film and then it becomes a literal war between Antony and the conspirators who are all turning on each other.

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Posted by:
Sean Sweeney
Jan 23, 2014 5:18pm
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