I don’t remember it seeming weird at the time for Jim Jarmusch to do a western. It just felt natural, somehow, for him to move the deadpan absurdity, casual pace and odd characterization of his previous five indie features into a different time period and genre template. The combination gives DEAD MAN an aura of existential contemplation that seems to me to have made it soar above the other Jarmusch films in the film buff popular imagination, or at least bring him to a different crowd.
It’s the story of William Blake (Johnny Depp between DON JUAN DEMARCO and NICK OF TIME), not the poet, but a Cleveland accountant who’s never heard of the poet when he takes the risk of going west for a job at Dickinson’s Metalworks in the town of Machine. He received an offer by post from one John Dickinson (Robert Mitchum in not quite his last film, though he died in ’97), but things will not work out for William as hoped. (read the rest of this shit…)
Somehow HEAVY METAL was not Canada’s only rock-soundtrack-animated-fantasy-feature of the early ‘80s. ROCK & RULE (1983) combines the sci-fi/fantasy genre with a story about rock music, as the main characters are a band and the villain is (at least according to the opening text on the American version) a “legendary superocker.” The opening credits list all the bands on the soundtrack before the cast.
This was the first feature film from Toronto-based animation studio Nelvana Limited, who actually turned down an offer to animate HEAVY METAL because they’d been developing this since the late ‘70s. Previously they’d done TV specials like A Cosmic Christmas and The Devil and Daniel Mouse, but I know them for their weird, rubber animation on the Star Wars Holiday Special, which led to them doing the Ewoks and Droids cartoons.
ROCK & RULE takes place in a post-apocalyptic future where (again, according to the text in the American version, unexplained in the original) “The War was over” leaving only dogs, cats and rats alive, and “a long time ago” those evolved into “a new race of mutants.” In other words, it’s a “funny animal” cartoon, where humanoid animals rule the earth and either humans don’t exist or maybe they’re being milked on a dairy farm or something off camera. (read the rest of this shit…)
Jim Jarmusch’s zombie comedy THE DEAD DON’T DIE is… I mean, it’s a zombie comedy by Jim Jarmusch. Which is unexpected. When the trailer came out I couldn’t tell if they were trying to mislead us or if Jarmusch had made something totally different from his other movies. The answer is in the middle, leaning toward the first one. It feels closer to normal Jarmusch than to, like, SHAUN OF THE DEAD. It’s high on oddness and quirk, low on concept, plot structure or traditional resolution. Compared to ZOMBIELAND or TUCKER AND DALE or something the humor is bone dry and the pace is molasses slow.
But by LIMITS OF CONTROL standards it’s an action packed thrill-o-rama. It has a whole bunch of zombies digging out of graves like Thriller or RETURN OF THE LIVING DEAD, pulling out people’s intestines for a snack, and getting their heads chopped or blown off. They’re respectable zombies, too – o.g. slow shambling style, some personality to them, one played by Iggy Pop (DEAD MAN, THE CROW: CITY OF ANGELS). There’s one pretty distinctive touch in that they emit puffs of dust from their wounds. I imagine Jarmusch worked with more FX people on this than on all his other movies combined. (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
August 30, 1996
I don’t remember ever hearing anybody say nice things about THE CROW part 2, CITY OF ANGELS, so let me start out with one: this is a gorgeous looking movie. Part 1 production designer Alex McDowell (LAWNMOWER MAN, CRYING FREEMAN, FEAR AND LOATHING IN LAS VEGAS, WATCHMEN) returns, this time with cinematographer Jean-Yves Escoffier (GUMMO, GOOD WILL HUNTING), to tweak and expand on the aggressively stylized gotholopolis look he created for Alex Proyas’ THE CROW.
This time it looks more real, and has a yellow tint on its foggy (maybe it’s smoggy?), trash-strewn streets, representing the heat of Los Angeles, I hope, and not the piss that it clearly smells of. I don’t know my skylines, so I’m not sure I would’ve understood that they changed the location from Detroit without the subtitle or the cool shot where a row of palm trees burst into flame one-by-one as the crow (the bird that seems to be responsible for resurrecting murder victims, not the vengeful harlequin ghost he enables) flies past them. There’s a great tracking shot of the bird flying over the (model) city, and a profile shot of the ghost speeding on his motorcycle, his feathered friend right in front of him. The movie definitely achieves on levels of technical craftsmanship. (read the rest of this shit…)
TANK GIRL is a messy, silly, winkingly obnoxious version of the ’90s expensive b-movie, one of those weird ones that doesn’t exactly work but is kind of charming just because they had the gall to try. John Waters producer/FREDDY’S DEAD: THE FINAL NIGHTMARE director Rachel Talalay somehow convinced MGM to pump money into this adaptation of a cult British comic book about a smartass punk girl driving a tank through post-apocalyptic Australia. (Other MGM releases in 1995: FLUKE, SPECIES, GET SHORTY, also distributed THE PEBBLE AND THE PENGUIN, HACKERS, SHOWGIRLS, LEAVING LAS VEGAS, GOLDENEYE, CUTTHROAT ISLAND.) The movie’s story of facing off against a typical bad guy, even fighting him to the death on a raised catwalk for the climax, is too half-assed and conventional to work, but the frenetic style and goofy tangents are a successful extension of the main character’s personality.
Lori Petty (BATES MOTEL, POINT BREAK) pours every drop of hyperactive tomboy playfulness in her voice and persona into the character of Rebecca, who is never specifically called Tank Girl but does steal her would-be namesake when she escapes imprisonment by the wasteland’s fascist oppressors, Water & Power. This militarized corporation hordes the last of the water and cruelly attacks anyone who finds their own source. In my opinion they are not a good company to work for; when they fire employees they kill them with machines that harvest their body’s water content. (read the rest of this shit…)
WAYS YOU CAN SUPPORT THE SHIT OUT OF VERN & OUTLAWVERN.COM
if that's your thing:
1. Patreon
Toss me a couple bucks a month, support the good shit, also get access to a bunch of exclusive writing. This is my primary source of writing money that has allowed me to cut down to part time at the day job. Thank you!
2. Buy my books from your local bookseller or somebody
(NOTE: My ten year contract has passed on the Titan books, so I don't get residuals on them like I do WORM ON A HOOK and NIKETOWN, but I would love for you to read them because I'm proud of them)
EXTRA CREDIT: Review them on Amazon! That would really help me out. Unless you didn't like them, in which case forget I said anything.
3. If you ever buy from Amazon, go through my links or search engines
(you pay the same amount you were gonna pay anyway they cut me a little slice)
I also have an Amazon UK one:
(I can't get the search box widget to work anymore, so click on MOONWALKER and then search for what you want.)
4. My exciting line of fashion and leisure products
(I get a couple bucks per item, you get a cool t-shirt, mug or lifestyle item)
5. Spread the word
Tell your friends about my reviews and my books and everything. Only cool people though please, we don't need a bunch of suckers and/or chumps around here.
THANKS EVERYBODY. YOUR FRIEND, VERN
* * * *
Recent commentary and jibber-jabber
Mr. Majestyk on Risky Business: “I mean, I love Bob Seger to the core of my being, but I’m not going to stand here and…” May 18, 13:05
Mr. Majestyk on Heaven’s Prisoners: “I have also read the book, as well as many other Dave Robicheaux novels, because James Lee Burke is a…” May 18, 12:55
ejsteeler on Heaven’s Prisoners: “Definitely have a soft spot for this one – I had read the book and was eagerly awaiting the adaptation.…” May 18, 10:42
Alex R on Mortal Kombat Annihilation: “Yeah, the “This one is for the Mortal Kombat fans, who’ll eat whatever slop we serve” aspect is a big…” May 18, 09:51
VERN on Risky Business: “This is the closest I will ever come to having Majestyk on my side in a Bob Seger argument, and…” May 18, 07:30
VERN on Risky Business: “I will let the person who wrote the article if I can get ahold of him.” May 18, 07:23
Vicente Díaz on Dead Man: “I remember Jim Jarmusch saying he didn’t like John Ford’s westerns, and me instantly developing a dislike for this film.” May 18, 01:25
MaggieMayPie on Mortal Kombat II: “It took me a good chunk of the movie before I recognized Adeline Rudolph (Kitana) as a recurring character on…” May 17, 17:32
CJ Holden on Mortal Kombat Annihilation: “This is at least a plausible story. It’s hard to believe that anybody would dare to throw the sequel to…” May 17, 08:08
Alex R on Mortal Kombat Annihilation: “You nailed my feelings on MK:A, CJ. Not many movies land in that quasi-redeemable netherrealm for me. When you say…” May 17, 07:08
Hostile18 on The Player: “Just rewatched this one. I haven’t seen it, but wasn’t THE GRADUATE PART II sort of “meta-fulfilled” by Rob Reiner’s…” May 17, 07:01
CJ Holden on Mortal Kombat Annihilation: “You guys. I was in the mood to watch this thing last night again and I really don’t wanna convince…” May 16, 23:53
Alex R on Mortal Kombat II: “Is there… a difference? Haha sorry for pushing the envelope, I just can’t help but show people how twisted this…” May 16, 11:46
renfield on Dead Man: “Man that detail on how Neil Young made the soundtrack is so cool. I also heard that RZA tricked out…” May 16, 08:54
Mr. Majestyk on Risky Business: “This is a really edgy argument, Guy Who Time Traveled From 1978.” May 16, 05:07
May 10, 1996
It’s the story of William Blake (Johnny Depp between DON JUAN DEMARCO and NICK OF TIME), not the poet, but a Cleveland accountant who’s never heard of the poet when he takes the risk of going west for a job at Dickinson’s Metalworks in the town of Machine. He received an offer by post from one John Dickinson (Robert Mitchum in not quite his last film, though he died in ’97), but things will not work out for William as hoped. (read the rest of this shit…)
Somehow 
Jim Jarmusch’s zombie comedy THE DEAD DON’T DIE is… I mean, it’s a zombie comedy by Jim Jarmusch. Which is unexpected. When the trailer came out I couldn’t tell if they were trying to mislead us or if Jarmusch had made something totally different from his other movies. The answer is in the middle, leaning toward the first one. It feels closer to normal Jarmusch than to, like, SHAUN OF THE DEAD. It’s high on oddness and quirk, low on concept, plot structure or traditional resolution. Compared to 
TANK GIRL is a messy, silly, winkingly obnoxious version of the ’90s expensive b-movie, one of those weird ones that doesn’t exactly work but is kind of charming just because they had the gall to try. John Waters producer/
