DOLEMITE IS MY NAME is a dream come true – topnotch director, writers and cast making a beautiful, warm, well produced triumph-of-the-underdog epic about Rudy Ray Moore, the small time club singer who reinvented himself by selling dirty comedy records out of the trunk of his car and then strutting his way into independent filmmaking. The script is by kings of the oddball biopic Scott Alexander & Larry Karaszewski (THE PEOPLE VS. LARRY FLYNT, MAN ON THE MOON, The People vs. O.J. Simpson) and it’s got a whole lot in common with their best film, ED WOOD. It’s another story about an L.A. misfit perceived as a failure who, through tenacity and lack of self consciousness, puts together a family of people to will their silly, awesome dreams into reality.
ED WOOD glorifies people whose work was and continues to be made fun of, arguing that the passion and personality behind these works imbues them with an artistic purity and value that they hadn’t previously been given credit for. Moore and friends work with a similar scrappily amateurish zeal, but they in fact made a hit movie that, at least in some parts, was intended to be laughed at. So the happy ending in this one is real! (read the rest of this shit…)
I’ve said it before and I’ll say it again: THANK YOU studios for continuing to make these expensive old-timey adventure character movies even though they are always financially disastrous. I for one appreciate the gesture!
Enough about premaquels. How about a good old fashioned straight up remake? Kinda refreshing!
Some people might say, just because Christina Ricci spends a good third of BLACK SNAKE MOAN wearing only panties and a half shirt, chained up like a dog to control her bestial urge to fuck anything with a dick, that it’s degrading to women. Well, okay, if I put it that way. But as cool as Samuel L. Jackson’s backsliding bluesman Lazarus is, it’s Ricci’s coughing town slut Rae that you sympathize with most. The weird thing is this ends up being a sweet movie, a cute movie. Like a really subdued KILL BILL, BLACK SNAKE takes ridiculous notions that don’t have to make sense in an exploitation* picture (a man chaining up a young girl to cure her nymphomania, her forgiving him for it) but then treats the characters’ emotions so seriously that I actually start to care about them.
I had a good feeling about this movie from right about the time the title came on the screen. It was a shot of a pimp (Terence Howard) and a ho (Taryn Manning) driving in a car, and it freeze frames to write the title in yellow ’70s style lettering.
