(this review has more spoilers than usual because there’s alot to analyze.)
BIG FAN is the directational debut of Robert Siegel, known obviously to most Seagalogists as the writer of THE ONION MOVIE. He was the editor for The Onion comedy newspaper, then left to write scripts. This one caught the attention of Darren Aronofsky, who was gonna direct it for a while until he decided to have Siegel write a wrestling picture instead.
This one does have some things in common with THE WRESTLER. Both are smartly written, observant, bleak dramas about working class dudes in sports subcultures that don’t usually get much respect. The premise sounds like a comedy: an obsessive sports fan has to decide what to do after getting beaten up by his favorite player. I can imagine the Adam Sandler or Rob Schneider vehicle they could make out of that, but this is more of a drama with some squirmy, uncomfortable chuckles here and there, kind of a minimalistic TAXI DRIVER type character portrait. And for those of us who have written extensively about aikido masters it brings to mind some disturbing hypothetical scenarios. (read the rest of this shit…)
To tell you the truth it was the Lee Marvin/Don Siegel version of this Ernest Hemingway story that I was interested in, but Criterion released the two versions together, so I watched this Robert Siodmak/Burt Lancaster one first. Way to go, Criterion – expanding my ignorant horizons.
Strange days we’re livin in, here in the futuristic year of 1999. Everywhere you go there’s people getting chased, cars on fire. I just saw 2 people beating up Santa Claus on the sidewalk. Can you believe gas has gotten up to three whole dollars a gallon? What a nightmare! And man, I almost miss junkies. They were so much better than these “wireheads” you got now, who plug into recordings of the brain responses to sex and bank robberies and stuff. Those guys make me sick.
(warning: spoilers reign)
THE KEEPER is Steven Seagal’s new movie, still no release date in the U.S. but already released in England, where Seagal is so popular they even published a groundbreaking book that chronologically analyzes all his works up to PISTOL WHIPPED. This one isn’t as strong as RENEGADE JUSTICE (URBAN JUSTICE to us Americans) or PISTOL WHIPPED, and not much better than the okay DRIVEN TO KILL, but don’t worry, it’s much better than the less-than-half-assed AGAINST THE DARK and the Guinness Book of World Records-worthy all time most disorienting editing of KILL SWITCH.
I guess I got a nuanced view on these Robert Zemeckis “mo-cap” movies. I think he’s kind of delusional if he really thinks this is the future of movies, and I was complaining about the creepiness of attempted realism in POLAR EXPRESS (and earlier in FINAL FANTASY) long before it was a common complaint with the name “uncanny valley.” When it comes to being creeped out by dead-eyed computer animation, I’m NWA and mainstream critics are Ja Rule or somebody.
THE ABYSS is probly James Cameron’s most original movie. It’s not primarily based around people getting killed by a monster or a bad guy. It’s more like man vs. scientific challenge, trying to fix things, to not run out of air, to survive the pressure (both literally and figuratively) of being deep underwater. Okay, so Michael Biehn snaps from a bad case of the Underwater Blues, and they gotta fight him, but most of it is more problem solving and scientific analysis like APOLLO 13 or QUATERMASS AND THE PIT. And then it turns into CLOSE ENCOUNTERS OF THE THIRD KIND. And a little 2001. But underwater, so it’s completely different. Water is different from space. You can’t drink space. 
There once was a director named Chuck Russell, who did movies like THE MASK and ERASER. Not very good movies as I remember it, but he seemed like his heart was in the right place. He was trying to have some fun. He also did THE SCORPION KING, which I enjoyed, and then disappeared for the last couple years. But before he became The Occasional Director of Studio B-Movies he was a promising name on the ’80s horror scene. His debut was A NIGHTMARE ON ELM STREET 3: DREAM WARRIORS, the ridiculous but fun one that reinvented the series and gave Freddy his obsession with the word “bitch.” He wrote that one along with future THE MIST director Frank Darabont, who also helped him write movie #2, his remake of THE BLOB. 
I just received word that midnight screenings of outlawvern.com favorite BLACK DYNAMITE have been scheduled in some new spots on the map including Columbus, Boston, Minneapolis, Houston, Denver, Fort Collins, even Spokane, WA where a couple of you helped approve R-71. I think a midnight screening is the best way to see it, this is a movie that’s even better with a big audience. And by the way they expanded the best picture Oscar to ten nominees this year, so, you know, keep that in mind when you’re watching it.
