Archive for the ‘I don’t know’ Category
Wednesday, June 26th, 2019
I’m not too well-versed in the films of Gaspar Noe. I still haven’t seen his early films like I STAND ALONE and IRREVERSIBLE that gained him a following and a reputation as a nihilistic wipe-your-nose-in-it gloom merchant. I have seen ENTER THE VOID, which taught me that he’s also a great stylist with incredible technical mastery in the area of long takes and seemingly impossible camera moves. I knew this one also had dancing, so I checked it out.
Here’s my pitch: STEP UP 3 meets mother! on acid. Literally on acid – it’s about a French dance troupe having a party in an empty school building and realizing somebody dosed the sangria. Everybody gradually goes from joyfully celebrating their progress on a new routine to getting paranoid, agitated and violent. The few who didn’t drink it are suspected of spiking it, and become targets for the others. Everybody is trying to fuck everybody else while also trying not to be fucked by everybody else. It turns into a dark, horny fever dream where the rooms keeping getting darker and redder and the camera more disorienting, eventually even upside down (shout out to the massage parlor robbery scene in TOO MANY WAYS TO BE NO. 1). I noticed that there was a whole lot of screaming and wigging out, but actually didn’t catch that 42 minutes of it was one unbroken take. (read the rest of this shit…)
Tags: dancing, Gaspar Noe, Sofia Boutella, Soheila Yacoub
Posted in I don't know, Reviews | 24 Comments »
Tuesday, July 12th, 2016
Nicolas Winding Refn had been around for years before he draped Ryan Gosling in that silver scorpion jacket and became such a name among the movie savvy that he can get a John Hyams remake of MANIAC COP funded and put his initials on the beginning and end of his movies like they’re monogrammed towels. He’d had international acclaim for the PUSHER trilogy and VALHALLA RISING, but DRIVE was such a perfect balance of effective crime drama, zeitgeisty nostalgia and style, and arthouse indulgence that it became a bonafide cultural moment. And he’s been trying to punish us for it ever since.
I like that he lets his freak flag fly, and while most of my friends couldn’t hang with his follow-up ONLY GOD FORGIVES, it really spoke to me with its odd mix of revenge story deconstruction, broken martial arts movie structure and feverish surrealism. His latest, NEON DEMON, swerves even further off the road of logic and coherence in its exploration of the world of young models in L.A.
Elle Fanning (MALEFICENT, SUPER 8, THE NUTCRACKER IN 3D, SOMEWHERE), somehow looking five years younger and more naive than in whatever movie I saw her in last, plays Jesse, a newcomer to town trying to find gigs. Makeup artist Ruby (Jena Malone, INHERENT VICE, SUCKER PUNCH) latches onto her after a shoot and introduces her to Gigi (Bella Heathcote, DARK SHADOWS) and Sarah (Abbey Lee, the Dag from FURY ROAD, also in GODS OF EGYPT), more experienced models who respond with jealousy and cruelty when the gatekeepers start treating her as something special. (read the rest of this shit…)
Tags: Abbey Lee, Bella Heathcote, Elle Fanning, Jena Malone, Keanu Reeves, modeling, Nicolas Winding Refn
Posted in Horror, I don't know, Reviews | 20 Comments »
Tuesday, June 21st, 2016
You know what they say about people who work in movies as some job other than director: they really want to direct. It happens to actors, it happens to writers, it happens to Mel Gibson’s hairdresser who directed PAPARAZZI. It also happens to special effects makeup artists. Tom Savini directed the quite good NIGHT OF THE LIVING DEAD remake. Stan Winston directed PUMPKINHEAD and A GNOME NAMED GNORM and Michael Jackson’s GHOSTS. John Carl Buechler directed TROLL and FRIDAY THE 13TH PART VII and a bunch of other stuff. Kevin Yagher (partially) directed HELLRAISER: BLOODLINE. Of all these, the weirdest is the one that Tom Burman did, MEET THE HOLLOWHEADS.
Maybe Burman isn’t as well known as some of those other guys. In recent years his work has been on hospital-set TV shows – Grey’s Anatomy, Private Practice, Chicago Hope, Nip/Tuck. Good work if you can get it. But he’s been in the business since the ’70s, creating the titular heads of THE THING WITH TWO HEADS, doing makeup for FROGS, THE BOY WHO CRIED WEREWOLF, THE FOOD OF THE GODS, THE ISLAND OF DR. MOREAU, INVASION OF THE BODY SNATCHERS, and the Wookiees in The Star Wars Holiday Special. His work spans from classic gore moments (MY BLOODY VALENTINE, HAPPY BIRTHDAY TO ME, HALLOWEEN III) to werewolves (TEEN WOLF) to fantasy (SCROOGED) to action movies (DIE HARD 2, THE LAST ACTION HERO, CON AIR). He worked on Sloth in THE GOONIES, the monster in HOWARD THE DUCK and the Supreme Leader in CAPTAIN EO.
But in the late ’80s he decided to make his own movie to exercise and showcase the skills of The Burman Studios, the company he ran with his sons Barney and Rob. I remember it was on the cover of Fangoria under the title LIFE ON THE EDGE, and that might be the only reason I was aware of it. (read the rest of this shit…)
Tags: ???, Anne Ramsey, Bobcat Goldthwait, John Glover, Joshua Miller, Juliette Lewis, Matt Shakman, Nancy Mette, Richard Portnow, Tom Burman
Posted in Comedy/Laffs, I don't know, Reviews, Science Fiction and Space Shit | 14 Comments »
Thursday, January 14th, 2016
George Lucas and his big homey Francis Ford Coppola (CAPTAIN EO) are executive producers of Godfrey Reggio’s POWAQQATSI (Life in transformation), the EMPIRE STRIKES BACK of the Qatsi trilogy that began with KOYAANISQATSI (Life out of balance) in 1982 and ended with NAQOYQATSI (Life as war) in 2002. If you’ve seen either of those, or the ones by Reggio’s cinematographer Ron Fricke (I reviewed his SAMSARA in 2011) then you got a pretty good idea what this is like. Which is good, because my words might not cut it.
We could classify these as “experimental documentaries,” but they don’t have much of what anybody thinks of when they think of documentaries. No interviews, no narration, no onscreen text, no people talking at all. No storyline or argument made. No easily encapsulated subject or premise. Just themes.
They’re like cinematic paintings, or photo essays, or poems. They rhyme by having similar shots and images over and over again, all set to very repetitive (in a good way) scores by Philip Glass.
(read the rest of this shit…)
Tags: Cannon Films, Francis Ford Coppola, George Lucas, Godfrey Reggio, Lucas Minus Star Wars, Philip Glass
Posted in Documentary, I don't know, Reviews | 22 Comments »
Tuesday, January 20th, 2015
I can’t fake it, I don’t know enough about Jean-Luc Godard. I liked BREATHLESS. I kinda hated MADE IN U.S.A., but I have a Richard Stark bias.
I should see more of them, the earlier ones at least. I know his current reputation as a cantankerous anti-Hollywood zealot, so I knew I was on dangerous ground buying tickets to his divisive new one. It won a jury prize at Cannes and more recently was chosen as Best Picture by the National Society of Film Critics, but it was obvious from what little I’d read that it was not gonna be for everybody, or even mostbody. What attracted me, and the only thing I really knew about, honestly, was that it’s in 3D, and some have praised it for using 3D in innovative new ways. So as one of the last surviving 3D proponents it seemed like an event worthy of my time.
And it was, but uh… shit. What can you say?
(read the rest of this shit…)
Posted in I don't know, Reviews | 10 Comments »
Thursday, January 15th, 2015
PANTHER reminded me of one of the few Spike Lee movies I hadn’t seen, the 2001 made-for-cable A HUEY P. NEWTON STORY. When it comes to the Spike Lee Jointography there are three categories. There’s the main ones you think about – DO THE RIGHT THING, MALCOLM X, all the way through his recent OLDBOY remake. And sprinkled in between are the documentaries, often made for cable. They’re less widely seen, of course, but really good, movies like FOUR LITTLE GIRLS and WHEN THE LEVEES BROKE. But even rarer than that there’s the performance films. I gotta admit I haven’t gotten to most of these. PASSING STRANGE was one, that’s a Broadway musical. I did see ORIGINAL KINGS OF COMEDY. That was pretty good.
A HUEY P. NEWTON STORY, A SPIKE LEE JOINT is a filmed version of a one-man show that Roger Guenveur Smith did starting in 1996 at the New York theater where Hair started.
I don’t know if you know who Smith is. He’s gotta be best known for playing Smiley in DO THE RIGHT THING, so I’m sure people walk up to him on the street every day and say “M-M-M-Martin. M-M-M-Malcolm.” He’s actually been in several Spike Lee movies, he was on Oz I guess, he was one of the stars of Steven Soderbergh’s improvised lobbyist drama K-Street on HBO. But also he was the bad guy in Seagal’s MERCENARY FOR JUSTICE.
He’s an actor I’ve always liked, but I could understand if you didn’t. He has a very theatrical style. He’s a character actor but he likes to show off. He always carries around a little stick of scenery in his pocket to chew on. MERCENARY FOR JUSTICE is an example of him getting a little loosey goosey with the accents. (read the rest of this shit…)
Tags: civil rights, made-for-cable-movies, one man show, performance art, Richard Pryor, Roger Guenveur Smith, Spike Lee
Posted in I don't know, Reviews | 4 Comments »
Thursday, February 27th, 2014
Alot of people have recommended the PENITENTIARY trilogy to me over the years. Apparently it’s a pretty crazy movie property franchise of the VHS era, so it made sort of a minor cult legend out of writer-director Jamaa Fanaka. He came out of the UCLA film school and a group of young black filmmakers known as “the L.A. Rebellion.” Other members include Charles Burnett, Julie Dash and Haile Gerima, so he might’ve been the black sheep of the group, being more interested in exploitation type subject matter than his colleagues.
Although the PENITENTIARYs are what he’s known for, Fanaka (who was born Walter Gordon, by the way – he changed it to a Swahili name in college) actually started in the blaxploitation era. His first feature was 1974’s EMMA MAE, better known now as BLACK SISTER’S REVENGE. In 1975 he did WELCOME HOME, BROTHER CHARLES, which we will discuss here under its current video title of SOUL VENGEANCE. (read the rest of this shit…)
Tags: blaxploitation, Charles Burnett, Jamaa Fanaka, L.A. Rebellion
Posted in Horror, I don't know, Reviews | 11 Comments »
Thursday, March 21st, 2013
Here’s an interesting oddity, a 1975 b-movie sleazefest about rape, racism and rednecks, exploitation but with bursts of SWEET SWEETBACK type artistic pretension. According to the historical essay in the extras it was actually financed by a notorious Atlanta pornographer named Michael Thevis (he also funded Oliver Stone’s SEIZURE). This biography tells me that Thevis was nicknamed “The Scarface of Porn,” that he started out running a newstand but his sales of Playboy inspired him to sell and produce more porn, an enterprise that eventually grew into a nationwide empire of magazines, loops and peep shows. One of his early projects was publishing two of Ed Wood’s porn novels. But before you get too charmed by his up-by-the-bootstraps story you should know he sold child and animal porn, was involved in gangland executions and when he got put away for burning down the warehouse of a guy who criticized him he busted out of prison, tracked down the former associate that testified against him and killed him and another guy with a shotgun.
Also he’s apparently still alive in prison so I’m not gonna criticize him either. This movie is great! Great job funding it, Scarface of Porn!
(read the rest of this shit…)
Tags: David Worth, Leslie Uggams, Michael Christian, Shelley Winters, Slim Pickens, Ted Cassidy
Posted in I don't know, Reviews | 8 Comments »
Thursday, October 11th, 2012
There’s a pride that comes with renting a movie that I never heard of, that you never heard of, that nobody ever recommended to me before, and finding out it’s something interesting. Man, this one is not what I expected. I’m not saying I discovered an unheralded classic like I did when I stumbled across that Billy Dee Williams movie HIT! when it was only on VHS, but I definitely found an unusual one here.
And it’s all because of Slasher Search. As most of you know, every October I try to find some good slasher movies (preferably from the ’70s or ’80s, but I’m having to get lenient these days) that I’ve never seen before. Every year it gets harder, because the pool gets smaller, and I gotta look for more and more obscure ones, like the ones that haven’t even made it to DVD yet. In this case I got real desperate and ventured out of the horror section and I found this tape in Murder/Mystery/Suspense. It looked like it might be a slasher movie, seeing as how it showed a dude wearing a plastic baby mask holding an ax. Which can be used for slashing, is my contention. (read the rest of this shit…)
Tags: Janusz Kaminski, John P. Ryan, Maureen Teefy, Michael St. Gerard, Slasher Search, slashers, Zero External Reviews on IMDb
Posted in Horror, I don't know, Reviews | 9 Comments »
Monday, September 3rd, 2012
You know how some of these prestige pictures, especially around Oscar season, you’re waiting for the release date and then you find out it’s “New York and L.A.,” and if you’re anywhere else you gotta wait another couple weeks or a month or something? Well, for its first week SAMSARA was only playing two theaters: the Landmark Sunshine in New York and the Cinerama in Seattle. TAKE THAT LOS ANGELES. YOU CHUMPS HAD TO WAIT A WEEK.
I thought Cinerama got the exclusive because they’re one of the few places that can project 70 mm, which is what this was filmed in (Panavision Super 70 if you want to know the name brand) but then it ended up being released only in digital computer file form anyway, by request of the filmatists. “SCREENED IN 4K” they call it. I would complain except it looked great, so I’m sure they knew what they were doing. (read the rest of this shit…)
Tags: 70mm, experimental, mondo, non-narrative, Oscilloscope Laboratories, Ron Fricke
Posted in I don't know, Reviews | 17 Comments »
