A Nightmare on Elm Street 3: The Dream Warriors
My appreciation for the 3rd installment of the Nightmare on Elm Street franchise skyrocketed after watching Christopher Nolan's Inception. Yes, it takes itself less seriously. Hell no, it never received any Oscar buzz. Yes, it's outright cartoonish at times, And, no, you can't convince me I've lost my mind for thinking this (if I'm insane you wouldn't be able to win an argument with me anyway). A Nightmare on Elm Street 3: The Dream Warriors is actually the more sensible, and even more creative film. Re-watching it again recently, I was in awe of its inventiveness with dream logic, and its surreal special effects and production design. It also establishes an idea within two minutes that Nolan completely fails at with 148: that death within a dream has high consequences.
Nightmare 3 ignores whatever happened in Part Two, and so it's not required viewing beforehand (though none of it will make a bit of sense to those who never saw the original Nightmare on Elm Street). The film opens with a teenage artist named Kristen (Patricia Arquette in her first feature-length role). She's mixing coffee grounds with Coke to stay awake, and building a model of a certain creepy house on Elm Street she keeps visiting in her dreams. Soon enough, we're in it with her after she falls asleep, and she's attacked by a razor-gloved, dream-stalking serial killer known as Freddy Krueger. She wakes up in her mother's bathroom holding a razor with slit wrists.Continue Reading
Over the decades, Tim Burton has made himself into a brand name (mostly off the success of his earlier films). While he is a master of images and ideas inspired by comic books, B-movies and campy pop culture, the story and payoff rarely lived up to the potential. After an impressive run of films about outsiders like Pee Wee’s Big Adventure, Beetlejuice and Edward Scissorhands (and the box office bonanza of Batman and Batman Returns), Burton peaked with what is still his best movie, a biography of the beloved, transvestite director of horrible films, Edward D. Wood, Jr., titled appropriately enough Ed Wood. The flick follows Wood in his “Golden Period” of the 1950s and his collaboration and friendship with has-been horror icon Bela Lugosi on three quickie cheapies, Glen or Glenda, Bride of the Monster and his Citizen Kane, Plan 9 from Outer Space. All three films are on the Mount Rushmore of so-bad-they-are-good movie classics. Wood’s best qualities may have been his enthusiasm and an ability to build a stable of oddball friends who took part in his projects. Burton has managed to craft both a moving tribute to a talentless dreamer and a perfect scene-for-scene recreation of those hilarious films.
The film is shot in gorgeous black and white by cinematographer Stefan Czapsky (Last Exit to Brooklyn), and instead of the usual Danny Elfman score this one is provided by Howard Shore (Lord of the Rings), who brings a fun mix of sci-fi and conga room. Based on the book Nightmare of Ecstasy by Rudolph Grey, the script was written by the screenwriting duo of Scott Alexander and Larry Karaszewski (who were hot in the quirky bio business, also penning The People vs. Larry Flynt and Man on the Moon, as well as the Problem Child movies and TV series). Ed Wood marks the second of at least seven films Burton has made with Johnny Depp. And the casting of Depp at the time was really ingenious; who knew the pretty-boy had such creative chops? Depp wonderfully infuses Wood with an ah-shucks charm; everything seems to give Wood zeal. Always the optimist, Wood believes in everything, whether it’s his inept actors, sets, shots or his girlfriend’s sweaters--or the belief in the stardom of Lugosi who, at this point, was a heroin addict with failing health and is played beautifully by Martin Landau. When Wood sees Criswell (Jeffrey Jones), a TV psychic, make ridiculous predictions, he believes him. He spots Swedish wrestler Tor Johnson (George "The Animal" Steele) in the ring, and instantly sees a great actor. And these random people that Wood meets along the way and in whom he believes join him in his own dream of making movies, and in turn believe in him. It's a motley group that includes Bunny Breckinridge (Bill Murray), a homosexual in search of a sex change operation who is most memorable as The Ruler in Plan 9 from Outer Space, and eventually the horror show hostess Vampira (Lisa Marie), plus assorted goofy crew members. They forge an "Island of Misfit Toys" style family; think Wes Anderson without all the preciousness.Continue Reading
Fast Food Nation
It stands to reason that if you can get people to eat s*** and like it you can pretty much get away with anything. This is the sentiment I took away from Eric Schlosser's devastating expose of the fast food industry, Fast Food Nation: The Dark Side of The American Meal (Houghton Mifflin Company, 2001). The book was compared to Upton Sinclair's The Jungle for its gritty glimpse into an industry that has a stranglehold over our agriculture, our declining health, and our government. (And he really does point out that because of the American beef industry's dedication to doing things as cheaply as possible sometimes feces make their way into hamburger patties. Seriously.) Eric Schlosser connected the dots as to why fast food is so cheap and omnipresent and what he discovered was a vast system of interrelated factors that have been set up to dominate and degrade almost every aspect of our society - from the disgusting ways in which cattle are treated, to the exploitation of undocumented workers, to the disease and obesity epidemics currently plaguing this country. Schlosser wrote the definitive account of why American ideals are so compromised by the dominance of fast food culture. Making a documentary based on the book seemed to be the most logical way to visually depict Schlosser's investigative findings but director Richard Linklater had a different approach. Instead of filming Fast Food Nation as a muckraking documentary he uses the general narrative structure of Steven Soderbergh's ensemble film about the international drug trade, Traffic, as a device for exploring the business of fast food and its negative effects on all of us from multiple viewpoints.
The film follows lots of different characters caught up within their own troubling relationship to fast food production. Greg Kinnear plays an executive for a fast food chain called Mickey's. We follow him as he meets different people affiliated with the hamburger chain. He's shocked when he's told by his superior that they have worries about public outcry over their product. "There's shit in the meat," he says. He talks to scientists paid by Mickey's to craft the taste of liquid smoke in test tubes. He meets the kids who work at a Mickey's in Colorado. A young idealist named Amber (Ashley Johnson) working at Mickey's after school starts to realize that she doesn't want to be a part of what Mickey's is selling. Bruce Willis has a cameo as a cynical meat processing plant owner who warns Kinnear's character about sticking his nose in their business when he hears rumors about mistreatment of workers at the plant. We follow the experiences of Mexicans who crossed the border illegally into Colorado and work in the factory who are taken advantage of at every turn. Some turn to drugs to cope with the long hours and brutal work. Patricia Arquette, Ethan Hawke, and even Avril Lavigne pop up in different roles. Amber meets up with a group of college students determined to raise public consciousness about fast food's toll on the environment but have their illusions shattered when they see it's more complicated than they realized.Continue Reading
True Romance is the story of a young down-on-their-luck couple who comes across a suitcase full of cocaine and makes their way across America to sell it in Hollywood. As they do so a colorful group of cops and criminals hunt them down.
Quentin Tarantino (Kill Bill) wrote the film with un-credited voiceover by his Pulp Fiction co-author, Roger Avery (Killing Zoe). As with all of Tarantino’s scripts, the story is filled with unique characters, explosive action, and very memorable dialogue.Continue Reading