On first appearance what could be just another high school comedy is actually much, much more. From Alexander Payne and Jim Taylor, the directing and writing team later responsible for About Schmidt and Sideways, Election is a wonderfully smart political satire as well as a rich character study of suburban Omaha, full of truths about both teen and adult life. Reese Witherspoon, in her best performance and perhaps best role, brilliantly plays Tracy Flick, an ambitious high school overachiever, so driven she mostly comes off as unlikable and vindictive, but her back story proves to be much more complicated.
Jim McAllister (Matthew Broderick) seems perfectly content in his life; his marriage may be stale, but he finds an almost smug satisfaction in being a beloved teacher. Tracy is running unopposed for student body president in the upcoming school election and the inevitable outcome starts to grate on Jim, not just because he finds her generally annoying as a student but also because he knows a secret about her. His one time best teaching bud, Dave Novotny (Mark Harelik), had an affair with Tracy. After some manipulation she told her mother, which inevitably led to Dave’s firing and his wife, Linda (Delaney Driscoll), leaving him. Jim and his wife Diane (Molly Hagan) are trying to get pregnant, but with Dave now out of the picture, Jim has developed an attraction for Linda and tries to have an affair with her.Continue Reading
Everything You Always Wanted To Know About Sex, But Were Afraid To Ask
Like most of Woody Allen's early comedies Everything You Always Wanted To Know About Sex, But Were Afraid To Ask is the definition of "hit or miss." This is a joke a minute film. Some are wonderfully funny but, like Airplane some years later, when you throw a ton of jokes at the wall not all of them are going to stick. Enough do to make this well worth the experience and make it an above average comedy. Released during the sexual liberation and adult sexual reeducation of the early '70s, this is kinda/sorta based on David Reuben's hugely popular manual about human sexuality of the same name. Allen uses the chapter heads to basically create seven short films, spoofing the pseudo seriousness of the subject matter. Some work better than others, but oh boy, the ones that do work are home runs. Here's the rundown starting with the least successful of the seven and moving to the better ones.
Why Do Some Women Have Problems Reaching Orgasms?Continue Reading
Fast Times At Ridgemont High
Fast Times At Ridgemont High is The Godfather or the Gone With The Wind of '80s teenage sex comedies. It's bigger and better than its lesser peers including My Tutor, The Last American Virgin, Porky's, Losing It, and a list that goes on and on. Inspired by the success of the wonderful National Lampoon's Animal House as well as the ensemble attitude of American Graffiti, based on a book by Cameron Crowe, with an exceptional cast of then unknowns (including two of their generation's best, Jennifer Jason Leigh and Sean Penn), Fast Times At Ridgemont High is an epic study of Southern California teen suburban culture of the early 1980s.
The film really is more than just a teen sex comedy (which doesn't usually mean that sex is actually happening - it is generally more just being wished for - as well as preening and peeking for potential nudity). Besides being very funny there is some dramatic weight to the film and to many of the characters, mostly concerning an abortion. Other than a few teachers at Ridgemont High not many adults (parents) factor into the story (not including the 26-year old stereo salesman who seduces a teenager). This is a teen fantasy of laughs and sex all in a sunny, year-round location. It's the lighter side of the "burning the school down" fantasy of Over The Edge.Continue Reading
When I was ten years old I declared Foul Play to be the funniest movie ever made. Maybe now it’s not quite as amazing as I thought it was then, but it’s still pretty entertaining. After hitting gold with the scripts for Harold and Maude and Silver Streak, screenwriter Colin Higgins made his directorial debut with Foul Play. Like Silver Streak, Foul Play is a sorta romantic-comedy (slash) mystery-thriller hybrid. It both romanticizes the old style of Cary Grant and accepts the newer Saturday Night Live inspired raunch that has dominated American film comedies ever since. This was Goldie Hawn’s peak years, coming off of Shampoo and just before her signature performance as Private Benjamin. In her mid thirties, she was still playing the big eyed pixie to perfection and she matched Chevy Chase, in his first lead role (he had played some bit parts in The Groove Tube earlier). The film is definitely a time-capsule of disparaging styles, jumping between slapstick sex comedy and violent Hitchcock spoof, there is more would-be suspense than comedy, but when the comedy works I can see why ten-year-old me got so excited.
The plot is some kind of murder mystery that has something to do with an assassination attempt on the Pope or something. It really doesn’t matter. Goldie plays a beautiful San Francisco librarian, one of those unlikely lonely hearts who goes to see old movies by herself. Through a number of contrivances she ends up with a dead man as a date which puts her into a vast conspiracy including an albino hitman working for a corrupt Catholic church until bumbling cop Chevy Chase comes to her rescue. The two eventually put the case together (along with his trench-coated partner Brian Dennehy) and, of course, fall in love. And in-between their Charade-like pleasantries, there’s Burgess Meredith as her wacky karate-chopping neighbor, Dudley Moore as a sex crazed swinger, Billy Barty as a dwarf door-to-door salesman, a laughing snake, opera, car chases, murders, and an Oscar-nominated theme song by Barry Manilow. I may sum this up shallowly, as if I’m poo-pooing, but it’s actually with much affection.Continue Reading
Chili Palmer (Travolta) is a Miami shylock who finds himself looking for a new career path in life. While chasing down a collection, Chili encounters a B-movie producer named Harry Zim (Hackman) and his scream-queen star, Karen Flores (Russo). Harry has backed himself into a corner, owning money to a local hoodlum (Lindo), who tries to get a piece of the best script Harry has ever owned. In steps Chili, who loves Tinseltown and decides to become a producer. Chili and Karen approach her ex-husband, mega-movie star, Martin Weir (DeVito), to star in the film.
After a successful career as a cinematographer (Raising Arizona, Misery), Barry Sonnenfeld (Men in Black) took his place in the director’s chair. After two successful Addam’s Family films, he brought Elmore Leonard’s bestseller to the big screen.Continue Reading
A lot of films about drugs and drug users take an exploitive yet ultimately moralistic tone about their contentious subject matter. Actors are given scenery to chew as either addicts or dealers. Junkies waste away tragically, but elegantly, and the dealers are suave thugs making the most of their Faustian bargain of a career. So often we are meant to envy the way the characters give a middle finger to societal rules and yet, when they ultimately reach their downfall, we are encouraged to feel morally superior. Call it a cultural byproduct of our country's draconian drug laws where all drugs are equally bad. (Except for alcohol which never causes any problems whatsoever.)
The thing I love about Go is the refreshing lack of judgment on the characters. It’s a movie about a random assortment of relatively amoral young people in L.A. in one insane 24-hour period. They work dead end jobs, they go to raves, and they take ecstasy. They’re basically good kids, just young and broke and out for a good time. They get into trouble, but not the kind of finger-wagging clichÃ©d trouble that a bad screenwriter would normally concoct for these characters. It's more of the absurdist kind of trouble that Quentin Tarantino used in various plotlines of Pulp Fiction.Continue Reading
Hannah And Her Sisters
Many consider Hannah And Her Sisters to be the third and best installment in Woody Allen's realistic New York "dramadies" (the other two being Annie Hall and Manhattan). While not as stylish as the previous two, and perhaps even slightly marred by some distinctly 1980's hair and wardrobe choices, the film is one of the director's most mature and dense with ideas while still balancing his knack for comedic writing.
As indicated by the title, the multiple-storied movie focuses on the love lives revolving around Hannah (Mia Farrow) and her sisters Lee (Barbara Hershey) and Holly (Dianne Wiest). Hannah's husband Elliot (Michael Caine) is torn by his romantic feelings for Lee, eventually leading to an uneven affair that also has Lee re-evaluating her life with ex-professor and current lover Frederick (Max Von Sydow). Meanwhile, Hannah's ex-husband Mickey (Woody Allen) is a worsening hypochondriac who starts questioning the meaning of life after receiving news he might have a potential brain tumor. He also develops an interest in Holly, who is feeling secure and confidant in anything except her career or love life.Continue Reading
Back in the mid-1990s during the heyday of the American independent film scene there were several films released during the decade that became lightning rods for controversy stemming from their, at the time, risquÃ© subject matter. I use the phrase "at the time" because it's not clear whether movies are really capable of shocking us nowadays. In the age of the "torture porn" genre (Hostel, et al.), where even Law & Order plotlines can get pretty damn sick for prime time television, a lot of what stirred social conservatives to boycott studios over what they deemed objectionable material in movies just doesn’t work them up the way it used to. It may come down to whether or not movies are really the pop cultural force they used to be.
The idea that an indie ensemble drama that features mostly a lot of awkward communicating between the unbelievably dysfunctional could cause so much trouble now seems almost quaint. Happiness, with its empathetic treatment of a pedophile character and it's numerous, uh, money shots, might still seem provocative by today's standards if for nothing else than for its refusal to deny the film’s screwed up characters their essential humanity, but at the time of its release it caused an outright media firestorm prompting its original distributor to deem it too toxic for release. It eventually found a new distributor and did open to equal parts fawning praise for people who think that provocative equals good and righteous denouncement from a lot of people who probably didn’t even bother to see the film.Continue Reading
Husbands and Wives
If Annie Hall was Woody Allen’s ode to falling in love, 15 years later Husbands and Wives is an examination of falling out of love. Where the look and style of Annie Hall was clean and precise, Husbands and Wives is franticly shot handheld with herky-jerky editing and an almost improvised vibe to the performances. If Annie Hall marked the beginning of Allen’s great run of introspective masterpieces and near masterpieces, Husbands and Wives is the end of the streak. It’s his last really important Woody Allen film and definitely his last strong acting performance before he fell into a cliché of himself or brought in other actors to substitute, aping his own famous mannerisms. Husbands and Wives doesn’t have as many laughs as some of his earlier work but the insights into relationships can be utterly nerve striking. Made during his dramatic break up with his then wife Mia Farrow, it may be the last time Allen really had something he wanted to say or was worth hearing.
Besides the French New Wave camera work and cutting, there’s an occasional narrator and interviews with the characters; what was meant to give the film a documentary feel actually seems now to predate reality TV. Gabe (Allen), a writer and college professor, is in a stale marriage to Judy (Farrow); they are shocked when, before a dinner date, their good friends Jack (Sidney Pollack) and Sally (Judy Davis) announce their separation. Subconsciously it may expose their inner doubts about their own marriage. Jack quickly gets a much younger girlfrie...
I Am a Sex Addict
The whole concept of being addicted to sex went over my head until I saw this film. Sure, I saw that the act could be something that people heavily desired, but it wasn't until after I saw an example that I was able to understand what many celebrities and political figures are trying desperately to confess in the public eye. I Am a Sex Addict is the hilariously simple and yet wholly autobiographical story of Caveh Zahedi, a director who decided to make a film about his struggle with sex addiction. After introducing that he has had two failed marriages on account of his addiction and is moments away from having his third failed marriage, Zahedi maps out his adventure, starting with his childhood, and openly discusses his parents' bitter divorce, which was based on infidelity. He also goes on a tangent in order to express the dreamy optimism of searching for a soulmate in every girl whom he encountered as a boy. From there it dives into confrontations with Anna, his first girlfriend and true love. Their relationship was based on "free-love" and polyamory, which eventually led to Caveh meeting Caroline on a trip to France and marrying her in order for her to remain in the States. After this ended his relationship with Anna, he returns to France with Caroline only to find himself entangled in a web of temptation when he discovers the world of prostitution.
At first, his desire to confront them is fulfilled by merely conversing with them, followed by the first step of his addiction, masturbation. It then goes on to actually performing sexual acts with them, while being honest about his indulgence with Caroline. This produces strain, so he then becomes dishonest with her, which ultimately ends their relationship. After learning nothing from those two women he meets Christa, a girl he thinks has finally accepted him for what he is. But as it turns out, their relationship also leads to destruction on account of his honesty. While with her he meets Devin, who also does not believe in monogamy and leads him to believe that he simply needs a better, more understanding girlfriend. But after leaving Christa to be with Devin, he realizes that Devin is an alcoholic and they too part ways in an ugly fashion. It wasn’t until his relationship with Devin that he discovered that all of his girlfriends were, in some ways, mirrors into his own soul, and that while he was not an alcoholic, he had the tendencies of one in terms of sex, and he eventually got help.Continue Reading