Every so often a picture comes along that is so good as a concept, who the fuck cares if it works as a picture. This is a type of picture that may not be that great to watch, or may even get boring as hell by the end, but you are so happy it exists that you want to own it, memorize it, hang it up on your wall, make it into a t-shirt. You want to tell everybody it’s your favorite movie even though you’d be lying your ass off, because you fell asleep at the end and didn’t even feel compelled to rewind and see what you missed. But still, you loved it.
That picture is, of course, Shaolin Dolemite. (read the rest of this shit…)
I don’t know what the fuck is wrong with me. Here I am battling the IMDB for a prestigious award, I’m trying to prove myself worthy and this is all I have to offer you. Fucking Slackers.
I don’t know what you’ve heard about this one, but I keep hearing that it’s a pile of shit. That Todd Solondz has gone from a visionary manipulator of our deepest taboos and human flaws, to some kind of shock value asshole just trying to get a rise out of people. That this is just a big fuck you to the audience with no sense of humanity and etc. etc.
I always wanted to see this one but never got around to it back in the day, and now it is available on DVD for the first time since its original release, as well as the first time ever. And it was worth the wait, because this is the best picture I have seen Mr. Rudy Ray Moore involved in.
First of all I want to point out I don’t think this picture is really about disco. I mean it gives a different view of the phenomenon, showing it only in the early ’80s when it was taken over by a bunch of yuppies and it tries to explain what it meant to those people. This is not the young and exciting working class disco of Saturday Night Fever. This is at the point when you had to look a certain way to get in. For one of the main characters jimmy the club is his life, but not because he loves to dance. Because he works in advertising and he brings his clients there to impress them. That’s the kind of bullshit scene we’re talking about here.
Remember that motherfucker that made Happiness? His name is Todd Solondz and you might think he’s some hipster that came out of nowhere with 1996’s Welcome to the Dollhouse and then hit it big when he was Outlaw enough to refuse to cut Happiness, brought it to a different distributor who would release it unrated or whatever. Well, that’s what I thought but then I found out about this, his first picture from 1989, one year after the release of Die Hard.
As you know I like to watch the classics but the only way to tell for sure if it is a classic is based on what channel it is on. This one was on American Movie Classics so that’s how I know. If it was on TBS or especially USA that would be another story. Anyway it is an old one from James Whale the director of Frankenstein.
When you get two Oscar nominations for best director in the same year (for Erin Brockovich and Traffic) and you’re at the commercial peak of your career, what do you do for a followup?
Last time we spoke I found that the best way to forget about the nightmarish USA P.A.T.R.I.O.T. Act – which is designed to protect freedom and democracy by, among other things, allowing police to enter and search your house without probable cause, warning or even notification after the fact – was through the delights of French Cinema.
Well, it looks like I’m doin these columns once a month now, and I guess that’s better than nothin. This time I’ll be reviewing a handful of movies that have NOTHING to do with politics. I haven’t seen this Henry Porter witchcraft movie that everybody has a boner about but I have seen some other current pictures and some older ones that I will be discussing.
