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).
Run for The Sun
Richard Widmark got his only Oscar nomination playing one of the great psycho creeps in film history, Tommy Udo in Kiss of Death. It was his first film and it made him an instant star, most famous for that scene where he pushes a woman in a wheelchair down a flight of stairs while giggling hysterically. Though he was ruggedly handsome with sweepy blond hair, he was never fully able to drop that creepy Klaus Kinski quality, even as he gradually moved into heroic leading man roles, but it helped make even the most generic film a little more interesting. Widmark was part of that impressive group of leading men who emerged after WWII, mostly in Film Noir. Though he starred in a number of significant films including Panic in the Streets, Night and the City, and Pickup on South Street, he is not remembered today with the same iconic status as his contemporaries, such as Lancaster, Mitchum or Kirk Douglas, who all had more important roles on their resume. But with MGM releasing a little known gem, Run for the Sun, on their Limited Edition DVD Collection, perhaps it will help Widmark’s career get more reevaluation.
Though British director Roy Boulting did over 20 movies, he might be best known for making Disney child actress Hayley Mills his fourth wife (he directed her in the oddball horror flick Twisted Nerve). Run for the Sun may prove to be his lost almost-masterpiece (okay, I’m exaggerating. It’s no masterpiece, but it’s very watchable). The script is credited to Boulting and Dudley Nichols (Stagecoach) but the credits say it was based on a story by Richard Connell, making it another kinda-sorta version of his famous short story, "The Most Dangerous Game." Connell's story had been adapted before as a classic with Fay Wray in 1932 and then less memorably in a Robert Wise directed flick retitled A Game of Death in 1945 (and much later and more loosely in the John Woo/Jean-Claude Van Damme collaboration, Hard Target, and the Ice-T trash epic, Surviving The Game). In the end Run for the Sun is about as close to "The Most Dangerous Game" as The Hunger Games is; that is to say, there are some plot crossovers, but not much more.Continue Reading
The Snowtown Murders
There is something quite terrifying about cult mentalities or any person—peaceful or otherwise—who can catch the attention, loyalty and obedience of another person or group of people. But where icons like Manson and Jim Jones had the ability to control large masses, real-life mastermind John Bunting closed in on a desperate and disadvantaged family. It could be argued that the group mentality gave Mason and Jones some assistance in the brainwashing process, but to destroy a family without any real dogma is miraculous and, to me, far more tragic.
The rights to make the film were released shortly before the film was made in 2011 and, most likely, were difficult to come by. It surrounds the true story of a family in the run-down suburb of Adelaide in Sailsbury North, Australia. Elizabeth (Louise Harris) is the mother of four sons, several of whom are being sexually abused by her boyfriend. The oldest, Jamie (Lucas Pittaway), is exposed to countess accounts of depravity and violence in the house and desperately needs an outlet. In comes John (Daniel Henshall), the handsome and outspoken lad who hates pedophiles and homosexuals and urges the family to stand up and lash out at her former boyfriend.Continue Reading
I'll never forget seeing The Celluloid Closet, the documentary based on Vito Russo's seminal overview of LGBT representation in American film. I was 19, a college student in Lawrence, Kansas watching it in a documentary film class. It was like oxygen - for the first time I was seeing a film that confirmed gay stories and a gay sensibility had always been a part of Hollywood Cinema. You just had to know where and how to look.
Vito Russo's work as a film scholar synthesized a whole history of gay images and themes in film. The Celluloid Closet is an ecstatic celebration of such iconic gay images as Marlene Dietrich in a tuxedo in Morocco and the gut-wrenching ensemble piece about life in New York for a group of gay male friends in The Boys in the Band. The movie also serves as a scathing indictment of Hollywood and its "morals" code, a system that perpetuated the false notion that homosexuals didn't exist and, if they did, they had to die by the film's end. It was sobering, educational, cathartic, and celebratory. And the man responsible was not alive to see it because he had died of AIDS years earlier.Continue Reading
Deep Cover is one of those underrated films with a bold social commentary that is often swept under the carpet because it's from the '90s—that time in America that everyone loves to hate (but I love unabashedly.) When I first saw the film as an adolescent there was something about it that begged a very adult question; is mankind good in nature but drawn to necessary evils, or are we evil drawn to the predisposition of trying to be good? Living in Los Angeles, where the film is set, I still find myself asking that question.
Taking the still-relevant racial tension of an era and focusing on its organized crime and judicial system, the film opens with a young boy witnessing his father holding up a store on Christmas Eve. He is shot and killed, leaving the boy with a determination to never have such a pitiful existence. Russell (Lawrence Fishburne), now a man, is a rookie police officer trying to make a difference in the world. He doesn't drink or do drugs, however, when called into an interview for an assignment, he is told that he has the psychological profile of a criminal. In undercover work, he is assured, all of his flaws will become virtues.Continue Reading
It's an unfortunate fact that the vast majority of actors who, in their prime, filled roles that were at once progressive and invigorating, turned to ones that were lackluster, if not depressing, once they reached their peak of marketability within a genre. Usually this career transition leans towards comedy--and while viewers strain to recognize adept versatility on the screen, they often find themselves quite underwhelmed. Some notable examples of such actors are Robert De Niro and Dustin Hoffman. That being stated, in Killer Joe one can find a rare opposite in transitions. Here we find the harmless and perhaps awkward Emile Hirsch (Speed Racer, Into the Wild) and the go-to charmer of chick-flicks, Mathew McConaughey, playing two morally reprehensible characters that are not only believable but unnerving.
The plot more or less surrounds the woes of Chris (Emile Hirsch), a somewhat desperate young man of poor character who owes a Texan drug lord 6K for “misplaced dope.” To blame for the drugs going missing is Chris’s mother Adele, a woman whom he, and the rest of the family, hate. He goes to his father Ansel (Thomas Haden Church) for help. Ansel lives in a trailer park with his new wife Sharla (Gina Gershon) and his daughter Dottie (Juno Temple) from the previous marriage. When it becomes clear that Ansel doesn’t have the money to lend him Chris tells him of a half-brained scheme involving Joe Cooper, a detective who is self-employed as a hitman. The obvious target is Adele, who has a $50,000 life insurance policy. The money could not only pay off Chris’s debts and the $25,000 fee for Joe’s services, but the remainder could send Dottie, the sole beneficiary, to college.Continue Reading
The Dirty Dozen
The Dirty Dozen, the granddaddy of action super-team flicks, took the sheen off the WWII big ensemble picture (The Longest Day, The Great Escape) and mixed in the military cynicism that was bubbling up (encouraged by doubt about the Vietnam War) with rowdy anti-heroics (MASH, Kelly’s Heroes). Like so many films to follow, the film breaks into two halves easily: first, assembling the team full of anti-authority types (Stripes); and second, the undercover suicide mission behind enemy lines (Inglourious Basterds). After years of dependable supporting performances in The Wild One, The Man Who Shot Liberty Valance and Ship of Fools, this may be silver haired, tough guy actor Lee Marvin's signature role (with apologies to the great crime thriller Point Blank and his Oscar winning work in the otherwise forgettable Cat Ballou). The Dirty Dozen gives Marvin the perfect opportunity to showcase his brawn as well as his sense of humor. As Major Reisman, he is assigned the task of putting together a WWII team made of 12 creeps and criminals, many of whom are facing the noose, to first train and then sneak into France before D-Day to kill a group of high-end Nazis (with their dates) at a fancy chateau shindig.
The team is made up of many future stars, or at least interesting cinematic curios...Continue Reading
The Day The Earth Stood Still (1951)
Director Robert Wise’s 1951 Science-Fiction opus The Day The Earth Stood Still has always been the granddaddy of the friendly alien invasion genre. While the more popular “mean alien” genre dominated Sci-Fi in the decade (The War of the Worlds, The Thing From Another World, Invasion of the Body Snatchers), the peaceful alien is usually less exciting and harder to pull off. It wasn’t really for another 20-something years that it was done as well again (Close Encounters of the Third Kind, Starman, E.T: The Extra-Terrestrial and even the ’78 version of Superman). Like the best of Sci-Fi, The Day The Earth Stood Still reflects the paranoia of the period (the Cold War, the atomic bomb). What makes it so much more than the usual hokum of the '50s is the high caliber talent behind it. It has a groundbreaking and influential score by the brilliant Bernard Herrmann. Director Wise (after editing Citizen Kane) helped invent the Noir Horror genre with The Curse of the Cat People (1944) and The Body Snatcher (1945). Afterward he did straight Noirs with films like The Set-Up (1949) and The House on Telegraph Hill (1951). Though The Day The Earth Stood Still has a black and white gloss to it, it also has shadows, lies, and typical Noir pessimism, making it maybe the first Noir Sci-Fi flick.
When a big flying saucer lands in Washington, DC, the handsome alien pilot Klaatu (Michael Rennie) emerges from it in peace but is shot by a jumpy soldier. In response, his big robot buddy Gort emerges and destroys all the weapons present with his head laser. After a debriefing by the military, Klaatu tells a White House official he has an important message for the leaders of the world. Instead he is pooh-poohed and locked up. He escapes and goes undercover as “Mr. Carpenter,” a dim-witted Earth nerd, taking a room in a boarding house to learn more about these strange Earth people. He hangs out with a science loving kid there named Bobby (Billy Gray) who gives him a walking tour of DC and a quickie lesson in Americanism. Bobby’s mom, Helen (the great Patricia Neal), works for Professor Jacob Barnhardt (played by Sam Jaffe), a math wiz, whom Klaatu eventually befriends and to whom he explains his intentions: Earth’s love of war and newly acquired atomic weapons have endangered the universe, and unless the powers that be dump their nukes, he will be forced to destroy the planet.Continue Reading
Dig! is a completely unreliable documentary about two rock bands who were around in the late 1990s -the Dandy Warhols and the Brian Jonestown Massacre. You do not have to be fans of these bands to find this movie entertaining. I didn’t believe for a second that what I was watching was anything more than some amateur footage of two bands with a clumsy narrative about success, art, commerce and “selling out” (one of the really quaint concepts that shows you how different things are now) grafted on, but it’s worthwhile because it’s a film with some genuine characters – goofballs, sleazy good time Charlies, and actually some really good music. Part of the charm of these bands is how little they had in common with the music scene at the time.
I present a recap:Continue Reading
The Lady from Shanghai (1947)
A deeply weird thriller as exotically perverse as they come, The Lady from Shanghai is a solitary entry in the exclusive canon of "maritime noir." Much like The Big Sleep -- in that the plot is so utterly convoluted it becomes impossible to figure out who is double crossing whom -- yet is doesn't matter because the film succeeds as a glamorous nightmare, a proto-Lynchian exercise in atmospheric dread. It is less than a full vision of Welles's inimitable imagination because, as usual, the studio hacked away at the movie, adding corny musical cues, and soft-focus close-ups of Rita Hayworth where they didn't belong. But it mostly works because the images are so original and inspired and because Welles and Hayworth bring a genuine spark of sexual chemistry to their roles. Even when it's painful to notice the studio's inane additions to the film in compromise of Welles's artistry it's hard to regard the intense, dreamy, fragmented bits of brilliance the film is comprised of as a complete tragedy.
Welles plays Mike "Black Irish" O'hara, an "able-bodied seaman" for hire in New York. Mike's a romantic - a tough guy who writes poetry and killed a Franco spy fighting in the Spanish Civil War. He's a brooding, sexy tough guy with depth. He meets Elsa Bannister (Rita Hayworth), the wealthy wife of a crippled trial lawyer, Arthur Bannister, one night in Central Park. After rescuing her from an attempted gang rape in the park he is later propositioned by her husband to work on their yacht as they sail to Mexico. Mike can't say no to Elsa and soon they're sailing to Mexico. It's here where the film is most memorable as the landscape changes from a back lot version of Manhattan to actual location shooting of the ocean and a Mexican fishing village. As the characters are revealed to be more sinister the cinematography gets more and more darkly beautiful. Welles gets great things out of his cast and crew, and the result is unlike any thriller from the period. It's noir but in Welles's hands it transcends genre trappings.Continue Reading
For a downbeat noir as pessimistic as they come look no further than Andre De Toth's Pitfall (1948). It's a film that depicts a time often thought of as a golden age of American prosperity and nuclear family bliss and then tears our warm and fuzzy notions to pieces. After the end of WW2 the G.I. Bill changed America for the better. For the first time many more Americans would get a chance to go to college while also being able to own their own homes. People had tons of kids. Suburbia and the good life soon followed and we never really looked back. But all this peace and prosperity left some feeling trapped. Life for some became bland and predictable and if noir has taught us anything it's that a husky-voiced blonde can be as lethal as dynamite.
Dick Powell plays John Forbes, a man who seemingly has it all: an adorable son, a loving wife, a nice middle-class house, and a decent job working in insurance. But John is sullen and not terribly appreciative of how good he has it. He goes out on a call about a woman in possession of stolen goods that her incarcerated husband had given her. Lizabeth Scott, best known for her noir vixen roles, plays Mona Stevens, the girl with the loot. Forbes expects to find the kind of girl he thinks would take up with a criminal but instead sees that Mona is a victim of circumstance and never asked for the things her husband stole for her. She's also beautiful and Forbes takes the opportunity to spend the rest of the day with her, conveniently forgetting to mention to her that he's married.Continue Reading