The Trouble With Harry

Dir: Alfred Hitchcock, 1955. Starring: Edmund Gwenn, John Forsythe, Shirley MacLaine, Mildred Natwick

If it’s not Alfred Hitchcock’s most underrated film, than The Trouble With Harry is certainly his most unusual opus. In 1955, Hitch was in the midst of his unprecedented commercial and artistic hot streak; from '51 to '63 - Strangers on a Train through The Birds - he directed twelve films, a run that also included unquestionable masterpieces Rear Window, Vertigo, North By Northwest, and Psycho (as well as a couple misfires, most disappointingly I confess). Somewhere in the middle is this odd little black comedy about murder, shot in lush autumn Technicolor by the great Robert Burks. It feels like both an Ealing comedy (the little English studio that made stars of Alec Guinness and Peter Sellers) and a precursor to the lighter fare of the French New Wave. It’s both romantic and filled with a sort of light suspense. Though very much American, the film is based on a British novel by Jack Trevor Story and that quirky '50s English humor is evident (think of The Lady Killers). It’s not a style you see very much on this side of the Atlantic in that decade.

Besides the lush photography, The Trouble With Harry has two very special tricks up its sleeve:

Continue Reading
Posted by:
Sean Sweeney
Feb 20, 2018 5:18pm

Get Out

Dir: Jordan Peele, 2017. Starring: Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford. Horror.

While Saturday Night Live has been a talent generator for the last forty-something years, as a sketch show it usually sticks with the obvious and the more tried and true formulas. On the fringes of television (usually cable) is where one finds the sketch shows that truly innovate and surprise: Mr. Show, Kids in the Hall, Chappelle’s Show, and The Ben Stiller Show, to name a few. But for my money, Comedy Central’s Key & Peele is the best sketch show since the era of SNL. Besides the outstanding and committed performances the two actors Keegan-Michael Key and Jordan Peele give, the skits always seem to go down the least obvious route. Interestingly, the biggest influences on the show don’t seem to be the golden age of television’s Your Show of Shows or England’s Monty Python, but instead The Twilight Zone.

There’s an eerie element to the humor of Key & Peele and often an M. Night Shyamalan-like twist at the end of each bit. So it’s not surprising that for Peele’s directing debut (which he also wrote), he would make a proto-horror flick. Get Out is definitely less Lorne Michaels and more Rod Serling -- and even more Ira Levin (Rosemary’s Baby, The Stepford Wives, Deathtrap) with a sprinkling of Blaxploitation’s most outrageously paranoid thrillers (Ganja & Hess, Da Sweet Blood of Jesus and especially J.D.’s Revenge).

Continue Reading
Posted by:
Sean Sweeney
Jan 25, 2018 12:37pm

The Big Sick

Dir: Michael Showalter 2017. Starring: Kumail Nanjiani, Zoe Kazan, Holly Hunter, Ray Romano. Comedy.

Almost all of the better Judd Apatow joints (Cable Guy, Knocked Up, Superbad, Trainwreck, etc) have two big flaws in common: after some uproarious comedy, they end up going for the heart, therefore selling out the earlier, better raunch. They are also often ten minutes too long. In other words, Apatow’s world usually has third-act issues. The Big Sick, written by married team Emily V. Gordon and Kumail Nanjiani, and directed by Michael Showalter - Apatow is one of eight listed producers - finally breaks this third-act curse and ends beautifully. It may become the first Apatow flick to garner a bunch of well-deserved Oscar nominations. In an era of funny but sloppy and rushed comedies, this is a perfect movie. It achieves the status of being “more than just a comedy,” like Annie Hall, for example, which is something that Apatow has been reaching for in recent years.

Co-writer Nanjiani stars as a struggling Chicago comedian who shares his first name, Kumail, and yes (SPOILERS), this is apparently a pretty-much, kinda-sorta, true story about how he and his wife Emily met and fell in love. Emily is played by Zoe Kazan, always an interesting actress, and her performance is so lived-in and real, it’s easy to overlook the casual brilliance of it. The conflict is that Kumail is a Pakistan-born American, and while his charming family humors his stand-up comedy dreams, they are insistent that he eventually marry a Pakistani woman. So when he meets and falls for Emily, he has to keep it a secret from them, and later, under the pressure of being disowned, he breaks up with her. But when an infection causes her to be forced into a controlled coma, he becomes attached to her hospital bedside, along with her complicated parents, the high-strung Southerner Beth (acting hall-of-famer, Holly Hunter) and the more laid-back and passive Terry (Ray Romano, in a new career-defining role).

Continue Reading
Posted by:
Sean Sweeney
Dec 18, 2017 2:10pm

De Palma

Dir: Noah Baumbach, Jake Paltrow (2015). Starring: Brian De Palma. Documentaries.

American director Brian De Palma has a long and often controversial filmography. He started out doing counterculture social satires but found his true calling as cinema’s foremost Hitchcock imitator and made a name for himself with his generous use of fake blood and topless women in danger. In the beginning he was often associated with his pals the movie brats (Spielberg, Lucas, Coppola, Scorsese, etc.) who stormed the gates of Hollywood and took advantage of the brief period in the '70s between the era of the studio system and corporate conglomeration, when directors ruled with more personal projects. While many of his peers dominated the awards and critics' lists, De Palma was more of a B-movie director who well into the blockbuster '80s had a hit-and-miss record, which in retrospect, is at least always interesting. Directors Noah Baumbach and Jake Paltrow create the perfect tribute with their endlessly fascinating documentary De Palma: no talking heads, just the always-bearded director discussing each film, year-by-year with plenty of clips to accompany him.

De Palma began his career in academia and on the fringes, a true independent director, doing unfunny comedies. His peak of unfunniness came with his first studio picture, the horrible Tommy Smothers vehicle Get to Know Your Rabbit. It bombed and De Palma reinvented himself with the bizarre cult musical Phantom of the Paradise and the very Hitchcockian thriller Sisters (which still stands up today, for me, as maybe his best film). Its mild acclaim and success got him a chance to direct the high profile adaptation of Stephen King’s Carrie. The film was a smash and De Palma became a brand name. He has had some hits: Dressed to Kill, Scarface (which mostly found its audience later via cable and videotape), The Untouchables and Mission Impossible (more a Tom Cruise production than a De Palma joint). He made a pretty good movie, Carlito’s Way (mostly memorable because of Sean Penn’s brilliant performance as Al Pacino’s coked-out lawyer), but most of his other films have ranged from forgettable to not very good.

Continue Reading
Posted by:
Sean Sweeney
Dec 7, 2017 1:47pm

Ingrid Bergman: In Her Own Words

Dir: Stig Bjorkman, 2015. Starring: Ingrid Bergman, Alicia Vikander. Documentaries.

With The Criterion Collection’s release of the wonderful box set 3 Films by Roberto Rossellini Starring Ingrid Bergman (Stromboli, Europe ’51 and Journey To Italy), a little seen documentary that would have made a perfect supplement instead has been given its own stand-alone release -- because it’s that good. Director Stig Bjorkman’s 2015 Swedish doc Ingrid Bergman: In Her Own Words actually proves to be just as compelling and well made as anything in the more celebrated box set. This is as good a documentary about a monumental film actress as has ever been produced, thanks to a treasure trove of correspondence, home movies, and, of course, footage from her own films and news reels (since she was the original international paparazzi prey). Ingrid Bergman was a complete original. Besides having a hall-of-fame film career she also lived one of the most interesting offscreen lives that often played out like a Douglas Sirk melodrama.

Ingrid grew up in a family of people who died young, which gave her extra drive. While still a teenager, she become a popular film actress in her homeland of Sweden. She was brought to America by big-time movie producer David O. Selznick to star in a remake of her own film, Intermezzo. In ’39, the film ended up being a big hit and -- bang!  -- she was a star. An astonishing run of films would make her the most important film actress of the 1940s. She would get four Oscar nominations in the decade for The Bells of St Mary’s, For Whom the Bell Tolls, Joan of Arc and Gaslight, for which she won the award. She was in the popular Dr. Jekyll and Mr. Hyde as well as in Hitchcock films Spellbound and Notorious (his greatest movie, so says I). Most famously, she would play Ilsa in quite possibly the most beloved film of the decade, Casablanca. All this before the age of thirty-three!

Continue Reading
Posted by:
Sean Sweeney
Oct 26, 2017 1:20pm

Interiors

Dir: Woody Allen, 1978. Starring: Diane Keaton, Geraldine Page, Mary Beth Hurt, Sam Waterson, E.G. Marshall. Drama.

When we think of Woody Allen’s evolutionary assault on film history, we think of his amazing one-two-punch of Annie Hall in ’77 and Manhattan in ’79 (and some may add Stardust Memories to the streak in ’80). But usually forgotten (and some would say for good reason) is the little film in between them in ’78 called Interiors. After years of slapstick, the comic/director’s Annie Hall surprised audiences with a more mature and almost serious direction (and won lots of awards for it). But with Interiors, Allen turned the seriousness up to an eleven.

This was his bold attempt at a Bergmanesque (a term invented because of this movie) cold, depressing family drama; there’s not a joke in sight, not even a smile. It couldn’t be more bleakly Scandinavian, as heartbreak, envy, divorce, adultery, rape, icy silence and of course, suicide by drowning take their turn on the screen. Allen puts together an interesting cast of actors at their most introspective. Leading the way is his then-muse, Diane Keaton, along with Geraldine Page, Mary Beth Hurt, Sam Waterson, E.G. Marshall, Maureen Stapleton as well as impressive newcomer Kristen Griffith and, in a stroke of inspired casting, the great B-Actor Richard Jordan. At the time, not only was this a new direction for Allen, it was unlike anything any major American directors were doing.

Continue Reading
Posted by:
Sean Sweeney
Oct 5, 2017 2:06pm

The Muppet Movie

Dir: James Frawley, 1979. Starring: Jim Henson, Frank Oz, Charles Durning. Musicals.

Most television shows that make the jump directly to the big screen seem to also carry an inside-jokeyness about them -- at least, the best have (South Park: Bigger Longer & Uncut, Strange Brew and the '60s pop art Batman). In so many ways, they announce to the audience that what you are now seeing is a film, not a TV show (though Batman is the closest to an actual long episode of the show). The Muppet Movie from 1979, in terms of postmodern meta-ness, is as self-referentially meta as a film can get. Like Strange Brew, it begins with a screening of the movie you are about to see. (Strange Brew’s is actually a homemade version before the actual film begins). As the world-famous Muppets sit in a packed screening room, eager to watch their own autobiographical movie, self-serious Sam the Eagle delivers one of the film's best deadpan lines when he asks Kermit, “Does this film have socially redeeming value?” And strangely we later find out, it does. What a perfect gem it proves to be because, like the syndicated TV series from which it sprang, The Muppet Show, the film version works perfectly as a good time for kids and for adults as a first-class musical.

Instead of the less cinematic story of how an inventive puppeteer named Jim Henson got together with a group of educators at the germinal government-sponsored PBS and created Sesame Street (which later begot The Muppet Show), this movie takes more inventive creative license to tell the Muppets' origin story. One day, while playing banjo in a swamp, Kermit The Frog was spotted by a Hollywood type (Dom DeLuise) who tells him about an opening in the picture business. So Kermit sets out for Los Angeles. On the way, he is joined by a Bob Hope wannabe bear named Fozzie and it becomes a road picture. Their crew keeps getting bigger as they are joined by a creature called Gonzo and his chicken girlfriend as well as the rock band Dr. Teeth & The Electric Mayhem. The film really jumps up a notch when they meet Miss Piggy. She and Kermit have electric chemistry but her ambition throws some curves into their fledgling relationship. She is the most interesting Muppet because while most of her peers are kind-hearted and giving, she is completely selfish and self-absorbed (and obviously based on Barbra Streisand). Meanwhile, Kermit is pursued by a Colonel Sanders-type fast food entrepreneur named Doc Hopper (the great Charles Durning) who will stop at nothing to get Kermit to be the spokes-frog for his new chain of frog-leg restaurants.

Continue Reading
Posted by:
Sean Sweeney
Sep 21, 2017 2:17pm

Emperor of the North

Dir: Robert Aldrich, 1973. Starring: Lee Marvin, Ernest Borgnine, Keith Carradine. Drama.

Starting with Bonnie and Clyde in ’67 and throughout the '70s, the Depression in America became an exciting setting for a whole slew of films. That dark period of the 1930s sometimes became romantically re-imagined as a freewheelin’ adventure time or was used more dramatically as a metaphor for current times. Prime examples include The Sting, They Shoot Horses Don’t They?, Paper Moon, Dillinger, Boxcar Bertha, and Hard Times. And though it does not get off to the most promising start, Robert Aldrich’s 1973 movie, Emperor of the North, ends up being one of the best action flicks of the decade, as well as an almost comic-book Valentine to the era.

After opening with a scroll about the history of hobos riding the rails, Emperor of the North then rolls into the most unfortunate film theme song with all-stars behind it, maybe ever. “A Man and a Train,” with lyrics by the great Hal David (partner of Burt Bacharach), music by the nearly legendary Frank De Vol (he scored most of Aldrich’s films and The Brady Bunch!) and sung by Marty Robbins (”El Paso”), features gems like “a man's not a train and a train's not a man. A man can do things that a train never can.” I’m not sure what the word is for homoeroticism between a man and a train, but this song is it.

Continue Reading
Posted by:
Sean Sweeney
Aug 24, 2017 9:41am

I Wanna Hold Your Hand

Dir: Dir: Robert Zemeckis, 1978. Starring: Nancy Allen, Bobby Di Cicco, Wendie Jo Sperber, Marc McClure, Susan Kendall Newman. Comedy.

I Wanna Hold Your Hand by the young first-time feature director Robert Zemeckis is officially the best non-documentary Beatles movie that does not actually feature The Beatles. (So A Hard Day's Night and Help! are out of the competition). No -- instead of being one of those Beatles bios this is actually about the fans and the frenzy the mop-topped boys caused on their first visit to the colonies. And hey, their backs, knees and shadows appear, as do some of their songs! Emerging in 1978 as part of a short wave of youthful period comedies that were pushed along by the success of National Lampoon’s Animal House (the genre hitting box office gold with Porky’s and critical & artistic silver with Diner), I Wanna Hold Your Hand was actually the first and best of many would-be biographies, re-imaginings and Beatles origin stories, including The Birth of The Beatles, The Hours and The Times, Backbeat and Nowhere Boy. Since it’s really just a sweet tribute to Beatlemania and the innocence of the era it may be the least ambitious, but it comes the closest to hitting its mark.

In February of 1964, as The Beatles first touch down in America, four young women from New Jersey make their way to Manhattan to try and see them perform live on The Ed Sullivan Show. Wannabe journalist Grace (Theresa Saldana) is a big fan but her pushy friend Rosie (Wendie Jo Sperber) is psychotic about the band. They are joined in their adventure by Janis (Susan Kendall Newman, Paul’s daughter), who prefers folk music to rock & roll (she’s going along just to put up a folkie protest) and Pam (Nancy Allen), only a casual fan, more excited about her upcoming marriage. They have an idea to rent a limo and try to drive The Beatles to the show, but they settle for a hearse, driven by their shy friend, the undertaker’s son, Larry (Marc McClure, who also that year would play Jimmy Olsen in the Christopher Reeve Superman movie). Along the way they also pick up the cynical tough kid, Tony (Bobby Di Cicco), who is less about The Beatles and more into bedding the girls. The gang get split up and end up in adventures and compromising positions around The Beatles’ hotel and The Ed Sullivan Theater. Rosie  meets her male equal in obnoxious Beatles obsession, the hotel’s bellboy, Richard "Ringo" Klaus (Eddie Deezen). Think of it as a good version of what Detroit Rock City was trying to do -- or how about The Hangover Lite.

Continue Reading
Posted by:
Sean Sweeney
Jun 29, 2017 3:19pm

Southside with You

Dir: Richard Tanne, 2016. Starring: Tika Sumpter, Parker Sawyers. Drama.

Maybe the best thing to emerge out of the Armageddon that is our current state of politics is an exciting new budding movie subgenre: the Barack Obama dramas. (Remember kids, it only takes two films for an official subgenre to be declared). First up is the wonderful Southside with You, which chronicles one night in Chicago in 1989. As far as modern romance goes it's an important night, even if it’s just platonic at first. It’s the would-be first date between twenty-eight-year-old law firm summer intern Barack, on a break from Harvard Law, and his supervisor, law firm associate Michelle Robinson, then twenty-five (who, of course, would one day become superstar first lady Michelle Obama). And then rounding out the Obama origin story is another film: a Netflix original called Barry, which follows the young future president while attending graduate school at Columbia in New York. Both films give sneak peeks as to what would make our future hero tick.

The smooth-talking, street-smart and cigarette-smoking Barack (Parker Sawyers) had in mind a date; the much more serious and seemingly ambitious Michelle (Tika Sumpter) supposedly thought they were just going to a community meeting. Instead, Barack first leads Michelle on a stroll down Michigan Avenue and a stop at the Chicago Institute of Arts, where he impresses her with his knowledge of the work of black artist Ernie Barnes and his iconic piece The Sugar Shack (familiar to pop culture nerds from being featured in the credits to television's Good Times and on the cover of Marvin Gaye’s ’76 album, I Want You). But Barack really gets to impress when they get to the meeting, where black neighbors are disappointed the city has turned down their request for a community center. Barack woos the crowd with his speech-giving magic. Interestingly, instead of going for the usual and obvious us-vs-them take, he asks the crowd to think about the city’s point of view and what the two views have in common (shades of his famous 2004 Democratic Convention speech, that really put him on the map nationally). Here Michelle has two evolutionary moments -- and the film really is through her eyes -- first, she sees the political gifts that Barack has and secondly, after years at Princeton, Harvard and working corporate law, she realizes how out-of-touch she has become with the daily problems of the poor. Barack inspires her to get involved.

Continue Reading
Posted by:
Sean Sweeney
Jun 1, 2017 12:10pm
Soylent / Amoeba Banner
Amoeba Accepts Paypal - Start Digging!
Subscribe to Vinyl News
x Sign-up for emails, sales alerts & more:


loading...

Register


New customers, create your Amoeba.com account here. Its quick and easy!


Register

Don't want to register? Feel free to make a purchase as a guest!

Checkout as Guest

Currently, we do not allow digital purchases without registration

Close

Register

Become a member of Amoeba.com. It's easy and quick!

All fields required.

An error has occured - see below:

Already have an account? Log in.

Close

Forgot Password






To reset your password, enter your registration e-mail address.




Close

Forgot Username





Enter your registration e-mail address and we'll send you your username.




Close

Amoeba Newsletter Sign Up

Submit
Close