"CATCH YOU FUCKERS AT A BAD TIME?"

Posts Tagged ‘Chris Mulkey’

The Fan (1996)

Tuesday, September 8th, 2026

August 16, 1996

THE FAN is one of those movies I saw at the time, thought was pretty decent, didn’t think much about for 30 years, watched again, still thought was the same pretty decent. In fact, I might have to bump that up to pretty good.

One good thing about it is the same thing that happens when you watch many of the Tony Scott movies, even lesser ones: you remember that god damn, movies used to look good. The cinematographer is Dariusz Wolski, who’d just shot CRIMSON TIDE for Scott, but also he’s the guy who did THE CROW, and later DARK CITY, and then he did some Gore Verbinskis and Tim Burtons, and then a whole bunch of Ridley Scotts. A high ranking cinematographer of my lifetime, in my opinion. So here he’s doing those hazy orange Tony Scott skies, he’s making shots of the most routine shit look god damn beautiful, he’s staging business meetings in conference rooms with magic hour light shining through slit blinds, just ridiculously beautiful shots in a regular ol’ stalker thriller.

In his followup to CASINO and HEAT, Robert De Niro stars as Gil Renard, a very serious fan of the San Francisco Giants. Not just a guy who watches the games and has the hats and bobbleheads and shit (though of course he does), he’s also a regular sports radio caller, apt to defend his team, for example when radio personalities Jewel Stern (Ellen Barkin, MAN TROUBLE) and Bernie (Kurt Fuller, MIRACLE MILE, NO HOLDS BARRED) are a little too hard on the highly paid new player Bobby Rayburn (Wesley Snipes between WAITING TO EXHALE and MURDER AT 1600). (read the rest of this shit…)

Gas Food Lodging

Thursday, August 4th, 2022

“Women are lonely in the ‘90s. It’s our new phase.”


July 10, 1992. Future Grammy-winner “Baby Got Back” had just hit #1 on the Billboard charts, questioning Eurocentric beauty standards in American culture and allowing Seattle’s best known rapper to perform on top of a giant fiberglass ass. In arguably more feminist news, we have our third woman-directed movie of the summer (following POISON IVY and A LEAGUE OF THEIR OWN).

GAS FOOD LODGING* is another one from IRS Releasing (RUBIN & ED, ONE FALSE MOVE), and it’s the sophomore film from writer/director Alison Anders, whose debut BORDER RADIO (1987) (co-directed with Dean Lent and Kurt Voss) had been nominated for Best First Feature at the Independent Spirit Awards. This one’s loosely based on a 1971 young adult novel called Don’t Look and It Won’t Hurt by Richard Peck, but it fits pretty well into this period of American indie cinema when Anders’ future FOUR ROOMS neighbor Quentin Tarantino hadn’t arrive yet and directors were more influenced by her former boss Wim Wenders (she was a production assistant on PARIS, TEXAS). It’s about two sisters growing up with their single mother in a mobile home in dusty (fictional) Laramie, New Mexico, and doesn’t try to bullshit you with much more of a hook than that. That’s what Anders is interested in. (read the rest of this shit…)

The Standoff at Sparrow Creek

Tuesday, September 24th, 2019

“Listen, I got nothin’ against playin’ army. I don’t mind that at all. I think the ideology of some of these folks is good. But there’s assholes everywhere…” –Steven Seagal as Dr. Wesley MacLaren in THE PATRIOT (1998)

I knew exactly three things about THE STANDOFF AT SPARROW CREEK: it was supposed to be potentially controversial for having something to do with a militia, people loved it at Fantastic Fest last year, and it was produced by Cinestate. Because of the last one it was often mentioned in articles alongside the works of S. Craig Zahler, portrayed as daring independent films that are super fuckin edgy because they blur the line between “regular movie” and “movie that all neo-Nazis own on blu-ray.”

That’s probly why I put off watching it until now. But there really wasn’t much to be afraid of. Realistically we can assume that these characters who have dozens of AR-15s, grenades, Kevlar vests and shit stashed in a warehouse are right wing extremists, because they have dozens of AR-15s, grenades, Kevlar vests and shit stashed in a warehouse. But it’s not about that. The closest thing to a political view ever discussed is that some of them believe in killing cops. The two characters that are portrayed as potentially honorable are an undercover cop trying to bust the militia and a former cop trying to save the undercover cop. Race is never discussed, other than one guy being former Aryan Brotherhood (which is portrayed as a stain on his record). It’s really just a novel way to do a “flushing out the mole” type suspense story.  (read the rest of this shit…)

The Super-Kumite finals: Bare Knuckles

Monday, August 5th, 2013

tn_bareknucklestn_Super-Kumite“I’m not interested in champions of the ring. I’m interested in champions of the heart.”

When I found BARE KNUCKLES I wasn’t sure it would even be watchable. It’s recent (2010), I’d never heard of it, it’s not from an established action star or director, and the box mentions serious matters: “Women will go to extreme lengths for those they love, and single mother Samantha Rogers is no exception, being the sole provider for her daughter Mila, a child in need of special care.” That kinda sounds like a recipe for an indie drama about a fighter that’s not really about fights. Then I put it in and the menu and opening credits both of terrible fonts and music, and they put the obviously bogus claim “inspired by a true story” right after the title. This just looks like amateur hour from the get go.

What I’m saying is BARE KNUCKLES was an underdog. A Cinderella story. Cinderella Man, but with a lady… and it makes us all proud. It’s a little ragged and cheesy at times, but it’s a really likable take on alot of the genre tropes, feeling a little different without ever reinventing anything. (read the rest of this shit…)