IT FOLLOWS seems to be the horror hit of the season, rightfully praised for its clever premise, excellent cast and effective indie drama type naturalism. As usual I don’t think it’s as bone-chillingly spookerific or as powerfully groundbreaking as the “I don’t normally like horror movies but this is the greatest horror movie of all time” crowd, but that’s okay. They picked a pretty good one to flip out over. And maybe my respect for it will go up if somebody can convince me that it’s as about something as it seems like it might be.
If you haven’t heard, the college age kids of IT FOLLOWS are experiencing a sexually transmitted haunting. You get it on with the wrong person, next thing you know you start seeing… something following you all the time. Sometimes it looks like a creepy stranger. Sometimes, from the looks of it, murder victims (previously followed people?). But sometimes it’s just some dude standing on the roof with his dick out. And then sometimes it’s your mom. It’s fucked up.
Wait a minute, what if they saw it and they thought it really was their mom? “Hey Mom, what are you doing out here? Did you get my text about the student lo–”
Our lead victim here is Jay, played by Maika Monroe, who was so good as the daughter in THE GUEST. She’s been seeing what seems like a nice enough boy (he takes her on a date to see CHARADE at an old timey movie house, at least) but after some of the old fashioned car sex he, uh, chloroforms her and ties her to a wheelchair and explains the rules to her. It follows, and you gotta run. You don’t want that thing to touch you. Or to jump your bones literally and/or figuratively, ’cause that’ll kill you. (read the rest of this shit…)
Note: as usual, I recommend reading this only after you’ve seen the movie.
How the hell do you follow a movie with a classic freeway cars vs. tank battle and a legendary 27.86 mile cars vs. planes gun/grappling hook/wrestling fight? Well, we already had a good idea from the trailers: with cars that skydive and jump from skyscraper to skyscraper and with Jason Statham. The day after my first viewing I feel like FURIOUS SEVEN is probly not as good as FAST FIVE or FURIOUS 6, but it’s in the same range at least, which is a feat. And due to real life this silly fictional world turns very emotional at the end. I suspect that despite all the effort put into automotive insanity this will primarily be remembered as the one that says goodbye to Paul Walker.
It’s a blessing because really, when has a tragically passed-on star been able to have such a meta farewell in a movie? The character of Brian O’Conner gets to drive off into the sunset and the public gets to share in the send off as a narrating Vin Diesel/Dominic Torretto pay tribute simultaneously in and out of character. Heath Ledger might’ve had a better last big performance, but he was left hanging on the side of a building.
(It’s a little unclear what it means on the movie level, though. Are Brian and Mia and the kids driving off to be far away from Dom so they can be sure to stay out of trouble? Or is Dom just not planning to visit his own sister, best friend, niece and nephew if he’s not shooting guns anymore? Maybe he’s just assuming that now that he’s a dad Brian’s not gonna hang out anymore?) (read the rest of this shit…)
Paul Walker won us over while starring in his six great FAST AND FURIOUS movies, so it’s a wonder he had time to do much in between. As you saw with yesterday’s JOY RIDE review I wanted to take the occasion of our saying goodbye to Brian O’Conner to pay tribute to his work again. The trouble is I’ve already reviewed most of his starring vehicles: RUNNING SCARED, EIGHT BELOW, every FAST AND FURIOUS movie… buddy, I saw BRICK MANSIONS in the theater, that’s the type of individual you are dealing with here. Luckily I remembered there was this one based on the book The Death and Life of Bobby Z by Don Winslow, the author of SAVAGES.
BOBBY Z (released in some countries as KILL BOBBY Z or LET’S KILL BOBBY Z) is no SAVAGES, that’s for sure, but it has alot of the same elements: legendary surfer turned ultra-rich California marijuana magnate, Iraq vet turned violent criminal, crooked DEA agents, ruthless Mexican cartels, genius businessman friend turned unlikely kingpin, women scheming while taken for granted as sex objects by the empire. Walker plays the vet, Tim Kearney, a crazy long hair kicked out of the Marines for beating up an Iraqi general and turned into a lifer for three dumb strikes. Now he’s facing certain death from the Aryan Brotherhood for killing a fellow con named Mad Dog (UFC legend Chuck Liddell).
DEA Agent Tad Gruzsa (Laurence Morpheus Fishburne) offers him a crazy, convoluted deal: he looks kinda like this marijuana kingpin named Bobby Z, who cartel leader Don Huertero (Joaquim “Evil Phil Hartman” de Almeida, FAST FIVE) wants in trade for Gruzsa’s kidnapped partner. He says they don’t know the real Bobby Z is dead so if Kearney pretends to be him and successfully makes the trade the DEA will just let him go and he can try to escape from a deadly cartel or whatever but not have to go back to prison. I mean, it’s kind of the honor system I guess. If he wants to go back to prison that’s cool. (read the rest of this shit…)
That’s funny, back in 2001 Paul Walker seemed like a pretty boy teen star, a jock from VARSITY BLUES, so even though I always kinda liked him (and defended him from the savage hatred of the Ain’t It Cool talkbacks) he was probly the reason I didn’t take JOY RIDE entirely seriously, didn’t give it proper credit as a really solid thriller. I would’ve told you the movie was good, but I would’ve thrown a “ha ha, it’s actually” on front of that. Now I’m not as self conscious, and now Walker is the specific reason I’m giving it a long overdue re-watch. With his last movie coming out on Friday I thought it would be a good time to take a look at a few of his other roles in tribute.
See, he was a pretty boy, and he never did turn into an actor of great range. But here, in the same year he graduated to cop roles in THE FAST AND FURIOUS (which he probly got because Rob Cohen had directed him in THE SKULLS, and which came out about 3 months before this), he could also still play a youth. He turns his air of nice guy innocence toward a leading man role, which in this case is mostly about fear and problem-solving. How do we get the fuck out of here? How do we get this guy to leave us alone? Problems like that.
This is a road movie stalker like DUEL, ROAD GAMES or THE HITCHER, but for the SCREAM floating-head-poster era. Walker plays Lewis, a hopelessly smitten college kid driving cross country to get home during a break. Along the way he will pick up his high school friend/long distance crush Venna (THE WICKER MAN‘s Leelee Sobieski). But then he gets word that his fuckup older brother Fuller (Steve Zahn, A PERFECT GETAWAY) is in jail and nobody else feels sorry enough for him to get him out, so Lewis goes 500 miles out of his way to post bail. Don’t ever do that, the movie will soon teach us. (read the rest of this shit…)
BETTER LUCK TOMORROW was not Justin Lin’s rookie film (that would be SHOPPING FOR FANGS, co-directed with Quentin Lee), but it was his buzzed-about Sundance film that got picked up by MTV Films and must’ve got him alot of meetings and what not. Next thing you know he’s directing Jordana Brewster in ANNAPOLIS and then what the hell, give him that third FAST AND THE FURIOUS movie, see what he can do with that, and then FAST 4, 5 and 6 and the world was changed forever and he almost did a TERMINATOR and a BOURNE and he’s actually doing a STAR TREK right now.
That trajectory started with this somewhat controversial teen crime movie. Narrated GOODFELLAS style, it’s the story of Ben Manibag (Parry Shen of the HATCHET trilogy), a Chinese-American student in a California suburb driven to succeed in school and get into a good college, but who also finds the time for decreasingly petty crimes with his friends. He’s employee of the month at the hot dog joint where he works, he practices free throws every day to get on the JV basketball team and vocabulary words to get perfect SAT scores, works as a Spanish translator at a medical clinic, organizes a litter pick-up crew for the local beach and is American history expert for his Academic Decathlon team. But also he pulls a fake return scam at the electronics store, TPs houses and starts selling seat cheats, then drugs, then starts carrying a gun. (read the rest of this shit…)
PITCH BLACK put Vin Diesel on the radar, THE FAST AND THE FURIOUS put him above the title. But it was his work as an independent filmmaker that got him into Hollywood in the first place. His short film MULTI-FACIAL (1995) shows what must’ve been his frustrations with auditioning for acting gigs. Like HOLLYWOOD SHUFFLE‘s Bobby Taylor his character is an actor who keeps running into a brick wall in auditions, and the bricks are molded from the limited imaginations of casting directors chained to racial stereotypes and cliches.
But the Diesel version is a little different because he’s coming at it specifically from a mixed-race perspective. His character in the movie tries to pitch people’s inability to distinguish his race as an advantage, leaving his options open for playing many different ethnicities. It’s a strong point that doubles as an acting reel and calling card, but sometimes it’s embarrassing. The Al Pacino imitation I can let slide, but the freestyle rap is not cutting it in my opinion. Stick to breakdancing, Vin.
In doing this series on debut indie features it seemed like I oughta do CLERKS. I remember it being pretty funny. It was never an important movie to me, but it was for alot of people, and seems like a notable step in the evolution of low budget movies turned pop culture phenomenons, for better or worse.
Most of the directors I’m doing in this series went on to become important or great. Here’s the rare indie smash where the director didn’t fizzle out or get much better. I’ve sort of stood up for some of the recent widely panned Kevin Smith films (like TUSK and even COP OUT), but there is no part of me that believes he’ll ever have anything near a DO THE RIGHT THING or an OUT OF SIGHT or even a SCHOOL OF ROCK under his belt. He does not strike me as a born filmatist at all, as he’d probly be the first, second and third to tell you on six different podcasts.
But back in 1994 – the same great film year that gave us PULP FICTION, HOOP DREAMS and ON DEADLY GROUND – he did have a head on collision with the ol’ zeitgeist. He said he was inspired by SLACKER (the zine-like credits also namecheck Jim Jarmusch, Hal Hartley and Spike Lee). CLERKS has a similar day-in-the-life, people-just-talking approach, but it’s much more scripted than Linklater’s, and it’s kind of the other side of the coin. It’s not the people who have the luxury of fucking around all day with no responsibilities. This is the people who do it while chained to meaningless, low-paying jobs. (read the rest of this shit…)
SLACKER is a landmark independent film of the ’90s, and I thought it was Richard Linklater’s first feature until I rented the blu-ray and saw that one of the extras was a feature length Super-8 movie he did in 1988 called IT’S IMPOSSIBLE TO LEARN TO PLOW BY READING BOOKS. But I turned it off before the first shot ended and I don’t think it ever got released before so it doesn’t count in my opinion.
When SLACKER came out at the beginning of the ’90s it was unlike anything I’d seen before. You know how people who don’t know much about movies will say that a movie where they didn’t like the plot “has no plot”? This one actually for real has no plot, it’s just a camera floating through Austin watching people talk. Then somebody will leave the conversation or someone else will walk by and the camera will go with them and watch something else.
Some of the conversations are very one-sided. The two conspiracy nuts (one JFK specific, one all over the map from early moon landing to mind control) seem particularly Aspergersy. It’s funny to watch two guys walking along a sidewalk or riding in a cab for several minutes and one of them is doing a monologue and the other one never says a damn word. They’re all stone-faced non-actors so they don’t always convey whether they’re being very open-minded and actually listening, or if they’re just politely waiting for it to stop. (read the rest of this shit…)
SEX, LIES, AND VIDEOTAPE is a very divisive movie among copy editors who argue bitterly about its use of the Oxford comma in the title. The rest of us agree it’s a solid debut for writer-director Steve Soderbergh.
It’s a story with basically four characters. We’ve got Ann (GROUNDHOG DAY‘s Andie MacDowell), a somewhat troubled stay-at-home wife who opens the movie talking to her therapist (okay, I didn’t count him in the four) about her worries, about her husband not touching her, and about her belief that sex is overrated, not that big a deal.
Then we’ve got her husband John (STEP UP REVOLUTION‘s Peter Gallagher), a pure ’80s character because he’s a lawyer who wears suspenders and “just made junior partner” and he’s real proud of himself and a total douche.
And we’ve got Ann’s younger sister Cynthia (Laura San Giacomo), who is much wilder than Ann and sort of rebels against her and also is fucking John.
Lastly we have Graham (CRASH‘s James Spader), an old friend of John’s who he hasn’t seen in nine years but he’s back in town and John is letting him stay at the house briefly while he tries to find an apartment. Graham is the individualistic non-conformist cowboy drifter loner artistic beatnik rebel who sweeps through their square lives and changes everything forever. And he does it merely by being a pervert who can’t get a hard-on and owns a Hi-8 camera. (read the rest of this shit…)
HOLLYWOOD SHUFFLE is the definition of a D.I.Y. movie. Comedian Robert Townsend got tired of fighting for the shitty roles that Hollywood had available to him as a black man, so he ran up his credit cards to produce and direct his own movie, casting himself as Bobby Taylor, an actor not quite yet tired of fighting for the shitty roles that Hollywood has available to him as a black man. But it’s also a sketch movie in kind of the way UHF was later. The main story tangents into parody TV shows and fantasy sequences and stuff where he gets to play different roles.
Bobby is auditioning for what seems at first like a bit part as a mugger or something, but I guess it’s supposed to be the title role in a movie called JIVE TIME JIMMY’S REVENGE. He earnestly practices his improperly ebonic dialogue with his little brother Stevie (Craigus R. Johnson), doing some kind of cartoonish pimp voice and strut that only get worse in front of the white casting directors, cast and filmmakers.
He just goes along with the bullshit like people in the real world do. He treats the #1 sitcom star – who wears a funny bat-shaped hat and mugs up a storm while being swatted at by white people – as a V.I.P. Even in a daydream about being personally boycotted by the NAACP for playing Jive Time Jimmy he’s asked if he makes “those faces” (minstrel show type mugging) in bed, and he answers innocently, “Uh, sometimes.” It works as satire because he doesn’t know any better. (read the rest of this shit…)
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Recent commentary and jibber-jabber
Mr. Majestyk on F1: “I think you need have grown up with a dad to want to see this movie. My dadichlorian count is…” Jan 28, 09:07
BuzzFeedAldrin on F1: “I felt this was sort of the opposite of The Smashing Machine which I also saw recently, but both left…” Jan 28, 08:41
Bill Reed on F1: “I really enjoyed this one. Sturdy chassis, well-oiled, fine-tuned, aerodynamic, good around the corners, etc. Yeah, it’s about an old…” Jan 28, 08:12
Skani on F1: “Hard for me to take the Oscars seriously as anything other than a highly skewed, highly I political (in every…” Jan 28, 07:58
Numpty on 28 Years Later: The Bone Temple: “Liked it okay, not as much as the last one, rolled my eyes at a few bits, but the shaky-cam…” Jan 28, 06:31
Edgard on F1: “I regret that i did not see this one in theater as it was made for that experience… I am…” Jan 28, 04:31
Mike on F1: “As an F1 and film fan, I liked it. The other drivers, cars and even commentators are all the genuine…” Jan 27, 09:15
Llamakazi on The Killer (2023): “The Killer also gets caught on camera on the way up the elevator to the billionaire’s home. Since the heat…” Jan 27, 00:30
Alex R on Train Dreams: “Sanding off Robert’s edges seems as much a symptom of being afraid to fully grapple with Denis Johnson’s tone as…” Jan 26, 16:35
Matt on Train Dreams: “Alex R – I really don’t understand the revenge killing, I suppose. I’m not sure what it was trying to…” Jan 26, 15:55
Alex R on Train Dreams: “Matt— I agree with you on almost all of this, especially the Malick worship, though I liked the revenge killing…” Jan 26, 15:14
Matt on Train Dreams: “Has anyone here read the book? It is very, very good, and perhaps my familiarity with it colored my experience…” Jan 26, 13:11
MarioSB on Passion: ““REDACTED made you almost want to apologize for being against the war” I think this is one you REALLY need…” Jan 26, 11:31
Bill Reed on Train Dreams: “Of the five Best Picture nominees I’ve seen so far, this is easily my favorite. Meditative and existentialist, but in…” Jan 26, 08:34
Ben Railton on Train Dreams: “Great stuff as ever, Vern. My Mom loves loves loves this movie (seriously, she’s seen it many times already!) and…” Jan 26, 08:26
IT FOLLOWS seems to be the horror hit of the season, rightfully praised for its clever premise, excellent cast and effective indie drama type naturalism. As usual I don’t think it’s as bone-chillingly spookerific or as powerfully groundbreaking as the “I don’t normally like horror movies but this is the greatest horror movie of all time” crowd, but that’s okay. They picked a pretty good one to flip out over. And maybe my respect for it will go up if somebody can convince me that it’s as about something as it seems like it might be.
Note: as usual, I recommend reading this only after you’ve seen the movie.
Paul Walker won us over while starring in his six great FAST AND FURIOUS movies, so it’s a wonder he had time to do much in between. As you saw with yesterday’s 
That’s funny, back in 2001 Paul Walker seemed like a pretty boy teen star, a jock from VARSITY BLUES, so even though I always kinda liked him (and defended him from the savage hatred of the Ain’t It Cool talkbacks) he was probly the reason I didn’t take JOY RIDE entirely seriously, didn’t give it proper credit as a really solid thriller. I would’ve told you the movie was good, but I would’ve thrown a “ha ha, it’s actually” on front of that. Now I’m not as self conscious, and now Walker is the specific reason I’m giving it a long overdue re-watch. With his last movie coming out on Friday I thought it would be a good time to take a look at a few of his other roles in tribute.
aka FAST AND FURIOUS ORIGINS: HAN
PITCH BLACK put Vin Diesel on the radar, 
