RENAISSANCE MAN is a really-not-that-bad inspirational teacher movie directed by Penny Marshall (A LEAGUE OF THEIR OWN) and written by Jim Burnstein (a rookie who later did D3: THE MIGHTY DUCKS). It’s corny in the usual ways but also benefits from the simple appeal of the formula and a more-subtle-than-usual performance by Danny DeVito (ROMANCING THE STONE, THE JEWEL OF THE NILE, BATMAN RETURNS).
He plays Bill Rago, a fuck up in the world of advertising who gets fired after missing an important meeting with out-of-town VIPs. Ed Begley Jr. (last seen two weeks ago in EVEN COWGIRLS GET THE BLUES) appears briefly as his friend Jack who hired him and still cares about him but has run out of jobs for him. While defending him to the boss Jack says “the man’s had a few personal setbacks the last couple years,” and we can infer that one of them is a divorce, but I like that they never elaborate. Maybe it was some weird shit too. We don’t know. (read the rest of this shit…)
LITTLE BUDDHA is a film by Bernardo Bertolucci, so I always assumed it was highly respected. Maybe I confused it with THE LAST EMPEROR, his 1987 film that won best picture and eight other Oscars. This one only got decent reviews and one Razzie nomination.
It’s the very earnest story of some friendly Tibetan Buddhist monks who come to Seattle because they believe a 9-year-old blond kid named Jesse Conrad (Alex Wiesendanger, “Child,” THE NUTCRACKER) might be the reincarnation of their teacher, Lama Dorje. It’s also the story of Siddhartha (Keanu Reeves, last seen five days earlier in EVEN COWGIRLS GET THE BLUES) in gorgeously shot sequences interspersed throughout as Jesse hears about him.
MALCOLM X (1992) was a big fucking deal for Spike Lee. A big budget period historical drama, an epic really, that he had to fight to get hired on, and to finance, and to get permission to shoot in Mecca. And got recently freed Nelson Mandela to make a cameo in! It worked, and it was a phenomenon. So how the hell do you follow that up? He chose to make his most autobiographical film, though actually it’s more about his younger sister Joie, who gets a story credit and wrote the screenplay with Spike and their brother Cinqué.
So on May 13th, 1994, three days after Mandela was inaugurated as the first president of free South Africa, CROOKLYN came out, did pretty good, came in third after THE CROW and WHEN A MAN LOVES A WOMAN. Probly felt a little anticlimactic for Spike. But it’s a great movie.
Lee still had editor Barry Alexander Brown, production designer Wynn Thomas, and costume designer Ruth E. Carter, so there’s a continuity with his earlier movies. But Ernest Dickerson, the director of photography for everything since his student film Joe’s Bed-Stuy Barbershop: We Cut Heads, had retired from cinematography to direct JUICE and SURVIVING THE GAME. Those were big shoes to fill. So Lee hooked up with Arthur Jafa, a Howard-educated video artist who had been married to Julie Dash and was d.p. for her DAUGHTERS OF THE DUST. (read the rest of this shit…)
You know, ever since at least THE NICE GUYS, the world has gotten to fall in love with funny Ryan Gosling. He’s a favorite SNL host, he was unmatchable in BARBIE, it looks like he’ll be fun in THE FALL GUY. Even though he’s done serious broody guy movies in between (BLADE RUNNER 2049, FIRST MAN) I think of him as that funny guy now. And sometimes I forget that’s maybe the third or fourth incarnation of Gosling.
I never knew of him in chapter 1, Canadian Child Star Ryan Gosling, but yeah, in the ‘90s he was on The All-New Mickey Mouse Club, he was on episodes of Kung Fu: The Legend Continues and Goosebumps, and did you know he played the title role in a spinoff of Hercules: The Legendary Journeys called Young Hercules? Lasted one season. Otherwise the career went better than Old Hercules.
After the turn of the millennium he was reborn as Adult Actor Ryan Gosling. I never saw THE BELIEVER, but it gave him a grown up career. He did various respectable indies, but he blew up so big in THE NOTEBOOK that there’s arguably a separate chapter of Heartthrob Ryan Gosling.
From director Ryan Gosling
Admittedly I was a late adopter, I didn’t really start paying attention until Quiet Tough Guy Ryan Gosling was unleashed in DRIVE and continued in THE PLACE BEYOND THE PINES and ONLY GOD FORGIVES. It was during that period, in 2014, that he made his writing/directing debut, LOST RIVER, which is in kind of a similar dreamy dark art movie vein. (read the rest of this shit…)
When we first met director Matty Rich (in my summer of ’91 retrospective) he was the 19 year old who made STRAIGHT OUT OF BROOKLYN on $450K of credit card debt and donations, and won the Independent Spirit Award for Best First Feature over fellow nominees Wendell B. Harris Jr., Todd Haynes, Michael Tolkin and Richard Linklater. By 1992 he was name-dropped in Ice Cube’s “Who Got the Camera”,” in which Cube has a run-in with cops and says “I’m looking for John, Matty or Spike Lee.”
And in 1994, when he was still only 22, he made his big sophomore followup THE INKWELL, an $8 million movie distributed by Buena Vista Pictures. That’s a bigger budget than SHE’S GOTTA HAVE IT, SCHOOL DAZE or BOYZ N THE HOOD, but smaller than POETIC JUSTICE. John and Matty (considered gen-xers since they were born in 1968 and 1971) were the new younger guys coming in after the success of Spike Lee (who, like Robert Townsend and Mario Van Peebles, was born in 1957). (read the rest of this shit…)
DOWNTIME is a 1997 British film set in a dilapidated apartment building. I feel like somebody might’ve recommended it to me here years ago, but maybe it’s just in my head because the cover says “MOVE OVER BRUCE WILLIS, A BRITISH ACTION MOVIE TO DIE FOR.” I didn’t really think of it as an action movie, but the DIE HARD connection is obvious: it’s mostly set in one building, and much of it involves elevator-related danger, including climbing up onto the top of the elevator, climbing around inside the shaft, and the elevator falling and exploding. And it’s got a good look to it, with the camera moving around confidently (courtesy of ENEMY MINE and FIREBIRDS d.p. Tony Imi), so maybe there’s some McT influence in there.
But what makes it interesting to me is how much it still feels like something different. While DIE HARD is a pure action movie strengthened by the relationship drama in the middle of it, this feels like it’s a relationship drama that sometimes gets interrupted by some DIE HARD stuff, and keeps trying to brush it off and stay on track. Obviously straight ahead action is my preference, but I appreciate the originality of this approach, and it kept surprising me which directions it went. (read the rest of this shit…)
After watching EL CONDE, I was reminded that Pablo Larraín was also the director of TONY MANERO, a movie I’d always wondered about where a guy is obsessed with John Travolta’s character from SATURDAY NIGHT FEVER. I think I even considered watching it back when I reviewed SATURDAY NIGHT FEVER and STAYING ALIVE last summer, but it didn’t pan out until now.
It’s from 2008, and it’s Larraín’s second film, following FUGA (2006). And watching it plays as kind of a distant cousin to EL CONDE in that it’s a distinct mix of the creepy and the absurd, plays off of movie iconography in strange ways, is not a fan of Chile’s tyrannical past, and is not easily classifiable. It’s basically a character study about a guy named Raúl who dreams of being the best Tony Manero impersonator in Santiago, and also sometimes kills people. Mostly the former, though, honestly. I’ve seen plot summaries that describe him as a serial killer, which is technically true, but this doesn’t play like a serial killer movie. Killing is not where he puts most of his energy. (read the rest of this shit…)
A few weeks ago I watched the very good, Oscar nominated Palestinian film OMAR (2013), followed by the same director, Hany Abu-Assad’s English-language DTV action movie THE COURIER (2012) starring Jeffrey Dean Morgan. Because that’s how I roll. I enjoyed those and want to watch some more from Abu-Assad, so the obvious choice is his earlier Oscar nominee PARADISE NOW (2005). But for now I wanted to watch one that’s not about terrorism, so I went with his 2002 film RANA’S WEDDING, aka JERUSALEM, ANOTHER DAY. This isn’t as much of a thriller as the others I’ve seen, closer to a romance, a story about a woman trying to marry her boyfriend on very short notice. It’s just about this character and this situation, but because of where she lives that can’t help but be political. (read the rest of this shit…)
Right now, maybe even more than usual, there’s a horrible tragedy going on in the world. It’s painful to dwell on, but I can’t ignore it. I feel with every cell in my body that what Israeli soldiers and American weapons are doing to human beings in Gaza right now is unjustifiable in any context, with any history. But I also know that nothing I do or write can change anything about it. And I’m not trying to start a debate. That doesn’t help anybody. So I can only try to keep doing what I do in a way I feel is constructive.
What I do is write about movies, and one thing I love about movies is the way they can connect us to other people, other places, show us the world through the eyes of others, make us feel things maybe we wouldn’t have otherwise, to understand the world in a different way. So I thought I should see a movie from Palestine. I didn’t know anybody to ask about the subject, so I just looked at the small Palestine section at Scarecrow Video and OMAR (2013) was the one I found that looked most interesting. I don’t remember ever hearing of it, but I had to have when it was nominated for the Best Foreign Language Film Oscar. (Italy’s THE GREAT BEAUTY won that year. I didn’t see that either.) (read the rest of this shit…)
Hey, you know Greta Gerwig, director of last year’s biggest movie, BARBIE? Whose two previous films LADY BIRD and LITTLE WOMEN were also great and also best picture nominated? Do you remember that she used to be an actress in no budget talkie film festival movies?
It’s cool how quickly we can adjust to those transformations. They seem so strange at first, but then they stick. Stuff like “Bradley Cooper, Oscar nominee” seems unlikely and amusing at first, then pretty soon it’s the most normal thing in the world. At first Gerwig was this rising star of indie movies, she had cool hair, played adorable space cadets, seemed like somebody I would’ve wanted to be friends with or had a crush on when I was younger. I don’t think I saw LOL or HANNAH TAKES THE STAIRS, the two Joe-Swanberg-directed movies that got her started, so I first knew her from BAGHEAD and THE HOUSE OF THE DEVIL. (read the rest of this shit…)
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Recent commentary and jibber-jabber
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June 3rd, 1994
You know, ever since at least 
April 22, 1994
DOWNTIME is a 1997 British film set in a dilapidated apartment building. I feel like somebody might’ve recommended it to me here years ago, but maybe it’s just in my head because the cover says “MOVE OVER BRUCE WILLIS, A BRITISH ACTION MOVIE TO DIE FOR.” I didn’t really think of it as an action movie, but the 
After watching 
A few weeks ago I watched the very good, Oscar nominated Palestinian film 
Right now, maybe even more than usual, there’s a horrible tragedy going on in the world. It’s painful to dwell on, but I can’t ignore it. I feel with every cell in my body that what Israeli soldiers and American weapons are doing to human beings in Gaza right now is unjustifiable in any context, with any history. But I also know that nothing I do or write can change anything about it. And I’m not trying to start a debate. That doesn’t help anybody. So I can only try to keep doing what I do in a way I feel is constructive.
Hey, you know Greta Gerwig, director of last year’s biggest movie, 
