ONE HUNDRED POSTS!!!
Thanks to loyal
readers and friends!
Your feedback and
comments keep me going, and I really regret not being able to post as much as I
would like.
That said, since I’ve
subtitled this post “Where No LIE Has Gone Before!” it will be illustrated with
some of the Star Trek images that I’ve
had clogging my computer for too long.
I wasn’t going to use
a picture or a cake, or the actual number “100.”
I love the original Trek—it was the show that Voyage to the Bottom of the Sea should
have been.
The Original Trek was really about a U.S.
battleship cruising the Pacific, keeping the peace—promoting the benevolent Pax
Americana. Voyage was just dopey kids’
stuff—but set on the U.S. Navy’s most super-science submarine! Voyage should have been about subverting
Castro and destroying the crops of Laos, not lobstermen, phony lizards and atom
bomb swallowing whales! (Although that was a cool episode…)
For the reviews of
August and September (and more Trek
pix, both from the show and our nation’s cosplayers), please read on:
So why so
few posts?
Long
story short, my life has been somewhat hellish of late.
If you’re
interested—or even better, have a writing/ publishing/ researcher job you could
direct me towards—feel free to drop me a line. My email address is around here
somewhere…
I haven’t
been screening flicks like I should be, and writing up things even less.
Well,
that’s not completely true: I always write a lot—but little scraps of paper
with ideas I never type into a laptop don’t really count.
Actually,
I’ve been feeling quite desperate of late—totally under the gun—and it has prevented me from seeing the “forest for
the trees.”
What that
means is I am not sure what my viewing choices for August and September mean. Honestly,
many of the movies I screened were done so only because those were the movies
the library dug up for me.
(You know
you can use your local library as a DVD rental center: PLENTY of good stuff in
the New York Public Library to be found, as long as you’re patient.)
Not much
in the way of synopses here, sorry. Gotta desk clear!
MOVIES WATCHED IN AUGUST
Cloud Atlas (2012; written
and directed by Lana Wachowski, Tom Tykwer and Andy Wachowski; based on the
novel by David Mitchell) Wow! I really liked this mystical and humanist science
fiction epic—but I will admit I watched this three-hour opus over the course of
several days, and it really helps to watch it with subtitles: you should really
read this film to appreciate the language better.
That said, I was
fascinated by Cloud Atlas from the
get-go, as it presented (overwhelmed me) with a buffet of wild ideas imaginatively
created, helmed by a trio of humanist rather than technocratic directors.
Innovative and
thought-provoking, this film is about the positive life force versus the
negative: The spirit that would make humankind better against the lack of
spirit (or more accurately, the anti-spirit) that would hinder mankind, and
keep it selfish and brutal. It’s a genuinely uplifting film—nerve-wracking and
tension-packed at times—covering the nature of power and man’s rebellion
against it. This is epic radical politics in a delicious sci-fi/adventure movie
candy-coating! Huzzah!
Circular storytelling
beyond the casting presenting a multitude of connections made and missed. Told across
several interconnected and often very intersecting storylines, the film is set
in the past, present and future—with the same cast appearing in each segment,
in sometimes wildly differing roles (Tom Hanks gets to play evil), and under heavy makeup as to be
unrecognizable, while playing different races and genders, too.
Cloud Atlas is a technically perfect film
with good pacing, quite exciting at times, covering art, music, philosophy and
how a religion gets made, as well as social topics like slavery and ageism—with
plenty of spiritual/new age/existential dialog: “Death is a door!” and “You
think someone’s gonna hear your prayer and come down from the sky?” are said,
followed by horrifying truths: “They feed us to ourselves…”
This is a damn grand
sci-fi epic, with some top-notch performances, especially from Hanks and Jim
Broadbent. I really enjoyed this film.
GREAT insightful
review of Cloud Atlas via the always
awesome John Kenneth Muir HERE.
Violent Streets
(1974; Hideo Gosha) Ultraviolent, convoluted weirdness of yakuza vs. yakuza
after a botched kidnapping turns into blood-splattered “Mario Bava Crime
Thriller Goes to Japan!” A couple of gangs, all-business—like something out of
a Richard Stark novel—come to blows in often odd settings, like a chicken farm,
or Spain-themed nightclubs. Fantastic color scheme, too! Not essential, but lots
of fun.
The Night Evelyn Came
Out of the Grave (1971; Emilio P. Miraglia) Stupid, overwrought quasi-giallo.
Not as much fun as the title would suggest. Most giallos don’t make sense, but
at least they can be entertaining. Not this one, it’s dreadful!
Personal Best (1982;
written, produced and directed by Robert Towne) Two female track-&-field athletes
fall in and out of love while training for the Olympic trials.
Editor Bud Smith (who
often collaborated with William Friedkin) and DP Matthew Chapman deserve
much praise—the movie is technically flawless, but plotwise, often veers into
soap opera territory—and where’s Robert Towne’s usual great dialog? It is,
however, a sports fan’s movie, with strong roles for women, all whom are long,
lithe athletes in top shape, with everything filmed and edited perfectly.
A Bullet to the Head
(2013; Walter Hill) Wow, this is a movie utterly on autopilot! It’s like
someone set out to make a “Bad Movie” parody of Walter Hill’s later, post-48 HRS. flicks, with a clunky, exposition-heavy
dialog—that needs subtitles because star Sylvester Stallone’s mumbling is
incomprehensible.
Yeah, there are a few
good scenes of killing and mayhem, but hardly enough to make the slog worth it.
Extremely disappointing; does Walter Hill even care anymore?
Willy Wonka and the
Chocolate Factory (1971; Mel Stuart) My ten-year-old nephew was visiting—and
picked a classic for us to watch. Gene Wilder rules! A great movie, don’t argue
with me.
Matango (1963; Ishiro
Honda; visual effects supervisor Eiji Tsurubaya) is the missing link between
Don Siegel’s conformity death trip Invasion
of the Body Snatchers (1956) and the total societal-breakdown ghoulishness
of Romero’s Night of the Living Dead
(1968)—with a dash of prescience regarding the paranoid body-horror of Carpenter’s
The Thing. This is not hyperbole; I
think Matango absolutely deserves to
be in such august horror royalty: it’s a lost masterpiece.
The re-edited, dubbed
Americanized version, retitled “Attack of the Mushroom People,” did not help
the film’s reputation—although SoCal punks the Angry Samoans did write a song about the flick.
This movie—as it was
intended to be—is truly nightmarish, with great Japanese filmmakers like
director Honda and visual effects supervisor Tsurubaya working outside their
comfort zones, and creating a rich and moody semi-supernatural tale. While
radiation is given lip service, the island where the squabbling vacationers’
yacht crashes is more of a haunted place, where bad voodoo happens. Of course,
the mystery deepens with the discovery of a similarly wrecked research vessel,
with a mystery-packed captain’s log and a crew that’s not really missing… just different.
The spooky atmosphere
is aided by subtle effects (there is an extensive use of miniatures excellently
integrated with the actors throughout the picture) and highly detailed
production design, as well as spectacular Tohoscope cinematography in
super-saturated Technicolor: the widescreen palette is lurid and sensual! Delicious!
It’s a fantastic
visual design plugged into a tale with creepy Lovecraftian overtones—there are
hints that mutant island has been playing its tricks for a long time. This film
is interesting in that it plugs a high level of Cronenbergian drug-addiction/body-horror
into something that sounds written by Sam Fuller: these squabbling yuppies talk
tough and staccato speechify as if in one of that director’s hard-boiled
noirs—while tripping out (oh yes,
there are drug references here) and turning into mutated mushroom people.
A new favorite, and
another “New Best Old Film.”
It’s a Disaster
(2012; Todd Berger) A comedy skit extended until it is almost too long and clever
for its own good. It’s the “End of the World” with a gaggle of selfish,
one-dimensional hipster/yuppie types at their weekly brunch—that everyone
secretly loathes. I gave it a chance and was mildly amused, but it’s not
recommended, except for David Cross fans: he’s a treat as the only sensible
brunch guest—with an unsettling secret.
Goldfinger (1964; Guy
Hamilton) Classic Connery Bond: not perfect, but great. Distasteful tone of casual, sadistic misogyny crops up too
often, but forgive because of exciting action from an excellent script that
never stops surprising—or being sexy. Ken Adams’ production design is the
epitome of cool and slick, a constant visual joy.
Doug Stanhope: Beer
Hall Putsch (2013; Jay Karas) Sick, adversarial humor, with Stanhope on top of
his game, stretching out horrid, hilarious tales (like his mother’s suicide, or
a twisted football player-fantasy rape scenario) to intense conclusions. Very,
very funny, highly recommended, and available on Netflicks.
Mommie Dearest (1981;
Frank Perry) This biopic is almost meta! It is Joan Crawford’s life presented as
if it was a combination of her work with William Castle and Robert Aldrich, along
with other elements of Crawford’s films, like the forgettable leading men, but a
strong younger female costar; the weird product placements; overwhelming
melodrama; and complete anti-naturalism. Wonderfully excessive beyond-bonkers
perf by Faye Dunaway.
“A great old-fashioned
Hollywood movie,” says John Waters in his commentary, which simply must be listened to, as well: brilliant,
humorous and insightful stuff—you can tell he loves this movie.
September 2013 Had
Few Movies in It—and I have few words…
Night of the Living
Dead (1968; George A. Romero) THE classic. Still unbeatable—lightning in a
bottle that was not only a great horror film—it was groundbreaking for its time
as a horror flick, but quite political, too, no matter how inadvertent. Just so
damn good.
Pain & Gain
(2013; Michael Bay) WOW! The Michael Bay style really works at creating the
mental landscape of our characters. Stupid work-out studs have a kidnapping/great-rich-quick
scheme that almost works.
It’s good filmmaking—with
a great perf by Dwayne Johnson.
Dawn of the Dead (1978;
George A. Romero) The classic sequel to the classic: Consumerism makes you a
zombie. Dig it.
20 Years of CUFF (2013)
This was a retrospective of some of the short films from the Chicago
Underground Film Festival’s early days—featuring me! My short film “Light Fuse
Get Away” (1994) was featured during the first CUFF; I got to hang out with
Chris Gore and Richard Kern back then!
Life Is Sweet (1991; Mike
Leigh) Brilliant f’ing movie where nothing happens (compared to standard
Hollywood movie spectacles) but so much happens (like in real life). Incredible
honest performances help make this a magnificent film. Very, very recommended.
Ronin (1998; John
Frankenheimer) One of this great director’s last films is also one of his best:
lean, mean damn good spy nastiness. These espionage experts are more like less-chatty
gangsters from the local mob that the cream of the CIA, MI5 and KGB—and that is
great.
Literate yet reticently
brutal, smart and nonstop, Frankenheimer’s Ronin
is fabulous filmmaking—with some of the most excellent car chases ever.
There Will Be Blood
(2007; Paul Thomas Anderson) One of my favorites—I feel I get Daniel Plainview—and a film I go back and rewatch every so
often.
The Incredible Hulk
(2008; Louis Leterrier) Nice anti-militarism message in the midst of a flick
about a rampaging anger monster. Really enjoyed this flick, and especially how
Marvel Comics is creating its cinematic universe.
The Day of the
Triffids (1981; directed by Ken Hannam; adapted by Douglas Livingstone from John
Wyndham’s novel) An updating that is very faithful to the spirit of Wyndham’s
classic 1951 novel, condensing and rearranging his story nicely. Sure the show’s
zero-budget absolutely impacts how much this miniseries can show and do, but it
also makes it a worthy low-key apocalypse. Not too many explosions or “epic”
moments, but plenty of dread and uncanny gloom. This miniseries should also be
of interest to zombie fans: the way the bioengineered nightmare plant has
ruined the world and stalks humans reminded me of better films dealing with the
undead’s eventually global takeover.
Iron Man Three (2013;
Shane Black) I thought it was AWESOME that a zillion-dollar slab of Hollywood
tentpole action-madness was also a film that pointed out the “conspiracy theory”—Ha!—that
the military-industrial complex really does create the nation’s enemies, all to
line their pockets.
Breaking Bad: Season
Five (2012-2013 created by Vince Gilligan) You know, when the series ended, I
got depressed.
One day, I’ll go
through my various theories, etc. regarding Walter White & Co., but until
then, let this suffice: This became my new favorite TV show—as beloved as The
Prisoner, or The Outer Limits.
BOOKS READ DURING
AUGUST 2013
The Devil and All His Works by Dennis Wheatley—A copiously
illustrated encyclopedic summary of the Powers of Darkness and the Powers of
Light. Excellent stuff, except when Wheatley’s prejudices show up: he considers
Voodoo quite heinous, but is thankfully quite critical of how assholes have
perverted Christ’s message, especially the Catholic Church.. (Y’know, I think I
found this book in the trash…Perhaps it was delivered to me by unknown forces…)
“The Colour Out of Space” by H.P. Lovecraft (short story) Seems like I’m staying in
supernatural territory this month. Not surprising since I had my Tarot cards
read by none other than good pal and incredible musician Bliss Blood! (Yes, I namedrop.) And she said good things were around the corner.
Inspired, I read a
grim Lovecraft tale about a doomed farm. A piece of the sky—a meteor? Something
else? A “colour”?—falls into a field and at first, encourages great growth in
the plants and livestock. But everything soon turns grotesque, and the
corruption soon spreads everywhere. Massive interdimensional dread on every
page. Loosely adapted into the AIP horror flick Die Monster Die (1965),
starring Boris Karloff and Nick Adams.
“The Shadow Out of Time” by H.P. Lovecraft (short story) HPL whips up some supernatural
sci-fi as a man recounts the time he switched bodies with a strange, plant-like
alien—all part of an intergalactic colonization/migration to escape the
dreadful Old Ones. Fascinating weirdness that still reads fresh because it pays
no attention to sci-fi conventions. Like many of Lovecraft’s tales, this doesn’t
have a happy ending.
SEPTEMBER’S BOOKS:
A Short History of Myth by Karen Armstrong—The Death of
God has led to the Sickness of Man; we need myths—which explains the successful
return of superhero films—or else we go mad. Wonderful
philosophical/mythological read.
What’s So Funny? by Donald E. Westlake—Another of
Westlake’s thankfully-not-quite-whimsical Dortmunder adventures. This time the
hapless thief and his gang of oddballs and misfits (criminals all) must swipe a
jewel-encrusted chess set, while dealing the usual hilarious setbacks that
plague John Dortmunder regularly. As comfortable and rewarding as a warm bath;
Westlake is a favorite.
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