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).
A great tradition which essentially disappeared when the studio system collapsed was what one might call the variety film. The variety film was a kind of cinematic vaudeville show—a hodgepodge of comedy bits, some singing, dancing, and whatever else a cast of players under contract could fill out the average running time of a movie with. They were goofy, hurried, made on the cheap, and meant to be light entertainment. A great example of this would be International House (1933), a film about a hotel in "Woo-Hoo" China where W.C. Fields, Bela Lugosi, George Burns, Gracie Allen, and Cab Calloway all cross paths in very silly ways.
A variety film with the same spirit as International House but with more urgent purpose was Hollywood Canteen which chronicled a day spent at the famous club for GIs during World War II. The Hollywood Canteen originally came to exist through the efforts of Bette Davis and what she created with it really represented Hollywood at its best. From its opening day the Canteen was staffed with movie stars who volunteered their time nightly to serve GIs coffee and donuts or sign autographs. Girls came to dance with GIs and it was possible to see famous orchestras or comedians on a nightly basis there. Hollywood Canteen was made at Warner Brothers and the film features an all-star cast of contract players at the studio during the mid-1940s. It’s a fascinating glimpse into the entertainment world of the time with delightful cameos from everyone from Barbara Stanwyck, Ida Lupino, and Joan Crawford to Jane Wyman, John Garfield, the Benny Goodman Orchestra, Roy Rogers, the Andrew Sisters, and many more.Continue Reading
E.T: The Extra-Terrestrial
Despite one of the worst movie titles ever, E.T: The Extra-Terrestrial produced one of the most exceptional films about a child’s alienation from the adult world and the power of love, and is certainty on par with The Wizard Of Oz as an entertaining family film with much deeper meanings below the surface. Its massive success - at one time the highest grossing movie of all-time - brought on a wave of imitative clones (many produced by its director Steven Spielberg). But as the years and the hoopla have passed, it can now be enjoyed for what it is - irresistible.
An awkwardly adolescent suburban kid named Elliott (Henry Thomas), along with his younger sister and older bother (Drew Barrymore and Robert MacNaughton), are dealing with their preoccupied mother’s recent divorce from their father. She is played by Dee Wallace who went on to play the mother protecting her son from a psycho pooch in Cujo. Elliott comes upon a stranded space alien in his backyard whom he conveniently names E.T. (short for "Extra-Terrestrial," get it?). Employing his bro and sis they join the cute E.T on his quest to be reunited with his fellow spacemen, while having to hide him from their mom and the scary government officials who are searching for him. Oh, and earth's rotten atmosphere is slowly destroying him.Continue Reading
Puppets & Demons
Several works from filmmaker Patrick McGuinn (Sun Kissed, Eulogy for a Vampire) are collected in this delightful DVD. Below are descriptions of the shorts featured, many of them done with 16mm film and Claymation, and later with digital video once the technology became available.
With Atlantic City the then 67-year-old Burt Lancaster gave the performance of his five decade long film career. And what an incredible career it was. As Lou, an over-the-hill, broken down loverboy who dreams of one big score and still fancies himself a player, telling tales of one-time peripheral ties to the mob, Lancaster is able to use the physical and emotional gifts that have defined him his whole career. Like many of his characters, Lou is all buff and gusto on the outside, while sensitive and gooey on the inside.
Lou spends his days running numbers and looking after his sugar-mama Grace (Kate Reid), a decrepit ex-mob moll who came to Atlantic City during WWII for a Betty Grable look-a-like contest. The highlight of his life is lusting after his younger neighbor, Sally, a casino waitress and wanna-be blackjack dealer (an outstanding Susan Sarandon). Lou peeps at her through the windows as she gets topless and erotic with a lemon, rubbing it on herself to get rid of the restaurant's clam smell. When Sally’s lout ex-husband stashes a huge bag of cocaine in his pad and then gets killed by mobsters, Lou is able to woo Sally and become the true gangster he always fantasized about being. Meanwhile the city of Atlantic City in the background represents the foreground - it’s an aging, crumbling dinosaur being torn down by developers and being rebuilt with slick new buildings.Continue Reading
Dancing Outlaw is the first of two films by director Jacob Young that follow the comical and sometimes endearing daily rituals of Jesco White—a young man with a few different personalities who has followed his father’s footsteps in attempting to become the greatest living mountain dancer in the Appalachians. He lives in Boone County, West Virginia—a place where everyone seems to have either gone mad or suffers from some kind of gentile and permanent cabin fever.
His wife Norma Jean describes him in by far the most amusing and unflinching way, claiming that he is the most beautiful person that she’s ever met, but also the Devil himself. Through fluid interviews, she sort of forewarns the audience of Jesco’s three personalities: there’s Jesse, the son of his father who has a healthy beard and enjoys digging into his hillbilly roots and growing into a stronger tap dancer; Jesco, the man who wears grungy metal clothing, talks simple, and tells stories of sniffing glue and gasoline, among other things; and finally, there’s Elvis—Jesco’s personality at home, where his entire house is literally filled with an overwhelming amount of Elvis memorabilia. Aside from his home being stuffed with everything with “The King’s” face on it, he also slicks back his hair, wears fancy clothes, shaves his beard, sculpts his brows, and records himself singing along to Elvis records in his bedroom.Continue Reading
Kill Bill: Vol. 1
Director Quentin Tarantino’s Kill Bill: Vol. 1 is pop culture in a blender and on speed, particularly the culture of violent 1970s B Movies and exploitation films. It’s a comic book for movie nerds. It’s a who’s who, name the movie, appreciate the genre, video store game. More importantly it goes beyond its exploitation genre - it’s actually a mesmerizing, funny, elegant film. It all works beautifully, unlike its sequel Kill Bill: Vol 2, which was a mess. KB:V1 is an epic, bloody, action masterpiece.
KB:VI and KB:V2 were apparently intended to be one film, but they grew so big they were separated. Luckily the best stuff is in KB:V1. Both films jump around in sequence, but can be viewed and followed separately. Unfortunately for KB:V2 the late actor David Carradine as Bill is required to give long and tedious monologues. He was not a very good actor and long lines of dialogue were not his strong suit. (Imagine how interesting it would have been if Tarantino had gotten his first choice for the role, Warren Beatty?) Also where KB:V1 is clearly a riff on pop culture (films and television) of the '70s and early '80s, it’s sharp and focused. KB:V2 is all over the place, even adding Film Noir to the mix, not to mention the amount of minor characters with pointlessly long scenes of their own.Continue Reading
The Blood Splattered Bride
Feminist theory and the Sexual Revolution explode on screen for this fleshy and colorful vampire tale. It bends the rules quite a bit by allowing for vampires who roam around in daylight, as well as having a female lead and another who plays the vampire in erotic pursuit.
Susan (Maribel Martin) and her husband (Simon Andreu) are two newlyweds who decide to skip a hotel and take their honeymoon at his family's estate. Susan quickly becomes an admirer of his home and family until she realizes their attitude toward women. After noticing that the walls containing portraits of his ancestors only have paintings of men, she discovers that all the ones of the women in the family are hidden in the cellar. One in particular sparks her interest—the portrait of Mircalla Kerstein, a young bride with a blood-stained pearl dagger and a missing face, who murdered her husband on their wedding night, claiming that he requested she do despicable things.Continue Reading
Love at First Bite
Dracula. Disco. Delusional dufuses. That's right folks, you get the whole package with this ridiculously funny and well-dialogued farce of Dracula.
The year is 1979, and things have certainly changed in 700 years. Count Vladimir Dracula (George Hamilton) and his bug eating servant Renfield (Arte Johnson) are evicted from their castle in Transylvania to make way for government training grounds. Distressed by the notice, he and Renfield try to decide where to live. The only contact that Dracula has had with the modern world is through women's magazines, which he collects to get a glimpse of Cindy Sondheim (Susan Saint James)—a model whom he believes is his soul mate and a reincarnation of women he was fond of centuries ago. In order to pursue her, they travel to New York where she lives, where he will try to win her heart.Continue Reading
If someone told me they found Bulworth, filmmaking wise, to be a little lazy and, comedy wise, not all that funny, I wouldn’t argue with them. If they found it a touch offensive, maybe I could be persuaded to concede their point. But for me, though flawed, Bulworth is one of the most audacious political satires ever made. And for star and director Warren Beatty it’s one of his gutsiest moves in a long and fascinating career of audacious moves. Bulworth is one of the few modern political films that is actually political - it names names.
Beatty’s first starring role was in Elia Kazan’s soapy teen love classic Splendor In The Grass (1961). He would surround himself with major directors for the next two decades, working with John Frankenheimer, Robert Rossen, Robert Altman, George Stevens, Richard Brooks, and Mike Nichols. They would all be unmemorable films with the exception of Altman’s talkie, cult Western McCabe & Mrs. Miller. He would fare much better working as his own producer and later as a director. As producer and star Beatty helped start a filmmaking revolution in Hollywood, with the masterpiece Bonnie and Clyde (1967). The French New Wave inspired period piece, with its frank sexuality and startling violence, would influence a generation and help to jumpstart the golden age of auteurism in Hollywood of the 1970s. He would star and produce Shampoo (1975) and add director to his resume with Heaven Can Wait (1978). Both comedies were massively popular in their day with audiences and critics alike, though maybe not as "hip" in today’s light.Continue Reading
Late Bloomer (Osoi hito)
Picture, if you can, a film with the nightmarish quality of a Harmony Korine movie in Japanese, with a bit more focus on the characters and plot, that is deliberately presented as an avant-garde horror film. Late Bloomer is about as close to that combination as you're ever going to get. Not only is it toxic and arresting like the films of Korine, who I'll admit is one of my favorite directors, but the film is extremely off-putting.
As far as craft goes, it is shot in black and white (needed, I assume, for the eerie quality and mass bloodshed), with out-of-date dissolves and overlapping images that I haven't seen in years. The soundtrack is also jarring, mainly consisting of minimal electronic and death metal.Continue Reading