I'm not trying to be a hero! I'M FIGHTING THE DRAGON!!

Posts Tagged ‘Bruce Dern’

Monster

Tuesday, April 19th, 2016

tn_monsterI’m about 13 years late on this one, but it turns out there’s a reason Charlize Theron got an Oscar for MONSTER. Jeez. Playing Aileen Wuornos, “the first female serial killer,” she not only transforms herself, she transforms Wuernos.

That first part got all the attention. Theron was a well known actress by that point, but in movies like 2 DAYS IN THE VALLEY, THE DEVIL’S ADVOCATE, REINDEER GAMES and THE ITALIAN JOB her acting chops usually took back seat to her hotness. Here she wore fake teeth, bleached her eyebrows and had her skin looking freckled and rough, a pretty decent likeness of the real woman and (though it looks natural in the movie) extreme enough to get a bunch of attention. I actually think the most drastic part is the hair, though. The way the movie tells it she has the hair of a butch lesbian before she even discovers that she is one.

This is a love story. Aileen, going by Lee, decides rather than kill herself one rainy day she’ll take her last five bucks to a bar and get a beer. And this lonely young woman Selby (Christina Ricci, CASPER) approaches her, talks to her, buys her a pitcher. Aileen protests at first – “What is this, a gay place?” she had snorted to the bartender earlier – but she can’t really pass up a person being nice to her. Too rare. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

The Hateful Eight

Wednesday, December 30th, 2015

tn_hatefuleight(SPOILERS. This is a don’t-read-before-seeing-the-movie review.)

Quentin Tarantino tries out a couple new tricks in his new one, THE HATEFUL EIGHT: he shot in extra-wide 65mm Cinemascope, and helped hook up a bunch of theaters with 70mm projectors (and projectionists, I assume) to show an early, longer version of the movie complete with an overture, intermission and program. He got Ennio Morricone to compose and orchestrate some new music for it (Tarantino’s only previous original scoring was some bits by RZA and Robert Rodriguez for the KILL BILLs). But it also feels pretty familiar: his second extreme-racism western in a row, with chapter titles like KILL BILL, full of conversation suspense scenes like INGLOURIOUS BASTERDS, mostly one location like RESERVOIR DOGS, some non-linear jumps like most of his movies, and a cast with plenty of his regulars (Samuel L. Jackson, Kurt Russell, Tim Roth, Michael Madsen, James Parks, Zoe Bell, Waltong Goggins [I almost forgot he was in DJANGO UNCHAINED). Just as INGLOURIOUS BASTERDS got away with some out-of-the-blue, seemingly incongruous narration by Jackson, HATEFUL EIGHT follows up its intermission with some omniscient narration that you suddenly realize is Tarantino himself. I can see why some people would hate that, but I loved it. I mean, who are we fooling, we all know it’s this guy talking to us through this movie anyway. And it helps kick off the second half with an energy the first was lacking.

Here’s something brand new for a Tarantino movie: I didn’t immediately love it. I’m honestly still trying to figure out how I feel about it. I’m not sure I get it. I remember that with both INGLOURIOUS and DJANGO I had misgivings on the first viewings that later seemed completely irrelevant. With the former it was thinking that Brad Pitt seemed like Brad Pitt playing a funny character, he didn’t inhabit the character the way previous Tarantino leads had. With the latter it was that Tarantino had never done a movie that followed one character chronologically, and it seemed kinda too simple for him. Both of those seem like dumb complaints to me now, and I loved both movies without reservations on subsequent viewings. Even so, their first times I liked better than this first time. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

This year’s pre-Oscar post

Sunday, March 2nd, 2014

tn_oscarclintI saw all the best picture nominees this year, an old family tradition. I actually completed the check list a while back. It was easier than usual because I only had two I hadn’t seen at the time of the nominations, and only one of those I hadn’t been planning to see already. There was also one nominee I watched a long time ago but didn’t review. So for the sake of completism I’ll write a few words about those last three before tomorrow/tonight’s Oscar rituals are performed. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

Inside Out

Tuesday, October 4th, 2011

tn_insideoutDespite the prestigious WWE Studios logo I had no reason to believe in this crime thriller starring the long-haired pro wrestler now credited as “Paul ‘Triple H’ Levesque.” I looked up the director (Artie Mandelberg), he’s a TV guy going back to Moonlighting. The writer (Dylan Schaffer) had no credits before this one. I almost didn’t rent it, but I thought it was funny that ’90s indie queen Parker Posey was in a WWE movie. I forgot she’d already worked with Triple H in BLADE 3. Could they be on their way to becoming this generation’s William Powell and Myrna Loy? (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.

The Driver

Sunday, September 5th, 2004

This is a lesser known but completely fucking badass Walter Hill picture about a getaway driver. Ryan O’Neal plays the driver character (called “The Driver”) who is pursued by a semi-crazy cop with no name (“The Detective” on the credits) played by Bruce Dern.

The movie starts out with a robbery sort of like the dog race robbery Hill wrote for the remake of THE GETAWAY, except that the movie rushes through the robbery part and focuses on the escape. Right away you know you are in for a treat with this movie, because it’s some of the most intense car chases I’ve ever seen. Lots of car’s–eye-view shots as the driver swerves through oncoming traffic, red lights, parking garages, narrow alleys… he’s got 2 or 3 cops right on his ass everywhere he goes but he keeps managing to run them off the road or fake them out and leave them in the dust. (read the rest of this shit…)

VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.