The erotic thriller DREAM LOVER is so far the only movie directed by Nicholas Kazan, a writer who’s an Oscar nominee for REVERSAL OF FORTUNE and on my shit list for MOBSTERS. James Spader (SEX, LIES AND VIDEOTAPE) stars as Ray Reardon, successful architect, charmer, admitted bad husband, but supposed to be well-meaning and sweet. At his divorce hearing he fires his lawyer and lets his now-ex Martha (Kathleen York, unaired DARKMAN tv pilot) have everything. Sitting in the courthouse afterwards they look like they’re on a first date that’s going really well. They talk about how much they still love each other but she can’t stay with him because he hit her. Which seems more than fair to me! He tries to downgrade it to a slap or accidental bump and justify it as a response to her cheating on him, and this does not offend her. She puts her head on his shoulder and tearfully promises that the woman he finds who’s right for him will be “the luckiest woman alive.”
He’s got this buddy at work named Norman, played by Larry Miller (SUBURBAN COMMANDO) in the classic Dennis Miller/Denis Leary/Kevin Pollack type role of the comedian playing a horny best friend who’s sexist in a supposedly lovable way. Norman invites Ray to a gallery show to try to set him up with a woman (Blair Tefkin, V, FRIGHT NIGHT PART II), and while trying to escape her he spills wine on Lena Mathers (Mädchen Amick, TWIN PEAKS: FIRE WALK WITH ME, SLEEPWALKERS) and she chews him out. (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
June 17, 1994
Okay, this one is not a Summer Fling with a McDonalds tie-in. It’s more like a prestige horror film for grownups that didn’t make much of an impact despite its pedigree. It’s Mike Nichols (WHO’S AFRAID OF VIRGINIA WOOLF?) doing a serious and/or metaphorical monster movie, reuniting THE WITCHES OF EASTWICK‘s Jack Nicholson and Michelle Pfeiffer, both at new career heights thanks to Tim Burton BATMAN movies. The score is by Ennio Morricone – more of a minimalistic one than he usually does, and very important to the tone of the movie. The cinematographer is Giuseppe Rotunno (FELLINI SATYRICON, AMARCORD, THE ADVENTURES OF BARON MUNCHAUSEN).
Like one other serious grown up horror movie that I know of, WOLF opens with Jack Nicholson driving down snowy roads. But it’s night and he’s by himself and he has to stop because he hits a wolf. He experiences that common horror movie experience of “Do I have to put it out of its misery?” before a very effective “oh shit Jack don’t do that!” as he grabs the thing by the paws and tries to drag it out of the street. So anyway, yeah, he gets bit. (read the rest of this shit…)
THE AVENGERS PART 2 is probly the most comic bookiest comic book movie achieved by mankind so far, which is to say that most of the action scenes have like 15 different supermen and secret agents and shit flipping around shooting magic beams and power waves and explosive arrows and laser things and doing super punches and alley ooping each other and what not as they fight against an army of flying wiseass robots. There are two main characters who wear capes, one that turns into a giant monster, one that’s from a viking fantasy dimension or whatever, at least two that fly of their own accord and two using the jets on their power suits, one that moves faster than sound and another that does mind control and shoots red, uh… magic I guess?… from her hands. It’s not played exactly “gritty” but it’s not a joke either. It means it.
After writer/director Joss Whedon (SPEED)’s masterful job of combining all the different Marvel characters into one supergroup in part 1, he has an even bigger miracle to pull off, and ends up with more mixed results. Because after you’ve managed the trick of combining all these worlds and characters into one coherent movie (which honestly I didn’t believe could be done), the challenge is how do you do it again and make it seem new again and bigger this time but not worse? And the answer is “it’s hard to say.” (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…)
After the election on Tuesday, which brought us 4 historic gay rights ballot victories, the first openly gay Senator and the most women in the Senate ever, it was a no-brainer to spend Friday night watching Spielberg’s movie about Abraham Lincoln and his people’s fight to eke together a coalition to pass the 13th amendment to the Constitution, ending 400 years of slavery. Also, SKYFALL was sold out. (read the rest of this shit…)
Since I recently watched that movie CRASH that Roger Ebert said was the best movie of 2005, I decided to finally go back and watch the original David Cronenberg version, which in my opinion is pretty fucking different.
This is the courageous story of a movie producer (James Spader) and his wife (Debora Kara Unger from STANDER and PAYBACK and THE GAME) and all the people they like to fuck from behind (various). The movie opens with Ms. Unger in an a hangar rubbing her nipple against an airplane while some dude licks her ass. And you can imagine where it would go from there (perverted car crashes, etc.). Very predictable, standard stuff. (read the rest of this shit…)
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John_Matrix on Ninja Scroll: “Easily one of the best anime/ninja films ever. The line “…..Genma! Burn in your golden hell” lives rent free in…” Apr 24, 02:48
John_Matrix on Dark Skies: “The only finishes Vern offers are “Unvarnished”, and occasionally “Teal Sparkle”……but that’s usually out stock. Not glazing, but Priest had…” Apr 23, 23:28
VERN on O’Dessa: “Justin – Well when you put it that way yeah, I would definitely take HIGHLANDER: SEARCH FOR VENGEANCE over O’DESSA.…” Apr 23, 22:40
Crudnasty on O’Dessa: “This sounds worth a watch but I will go into it with the inability to suspend my disbelief that a…” Apr 23, 18:17
Justin Harrison on O’Dessa: “You’re more generous to this than I am, Vern. I applaud its ambition and think it means well, and it…” Apr 23, 13:07
CG on Dark Skies: “Just having fun (I’m not the biggest fan of the movie myself), I would expect nothing more than your straight-up…” Apr 23, 12:33
Charles on Urban Vengeance: “*Neverminded, I guess in flipping back and fourth between work calls and reading the review I missed where you figured…” Apr 23, 10:04
Charles on Urban Vengeance: “I was already sold before before you said it was set in Austin now I have to check it out!…” Apr 23, 09:59
VERN on Dark Skies: “Oh yeah, I don’t think I would’ve said anything you’d feel bad about on the podcast, I really like that…” Apr 23, 09:45
CG on Dark Skies: “Hey Vern! As a looooongtime fan of your work and screenwriter of PRIEST I look forward to the podcast (I…” Apr 23, 09:03
pegsman on Legend of the Eight Samurai: “This review inspired me to try a rewatch of LEGEND OF THE EIGHT SAMURAI. I say “try” because I cheated…” Apr 22, 22:46
kfb on Dark Skies: “Great review, I always considered this one a step above most others. I remember getting genuinely spooked out a little…” Apr 22, 12:53
Aktion Figure on Dark Skies: “No place to really put this but having been born in 1984 (The Greatest Year in Cinema) I just caught…” Apr 22, 11:41
CJ Holden on Dark Skies: “I never saw PRIEST or LEGION, but when I read PRIEST, my brain instantly confused it with LEGION. Brains are…” Apr 22, 08:01
May 6, 1994
THE AVENGERS PART 2 is probly the most comic bookiest comic book movie achieved by mankind so far, which is to say that most of the action scenes have like 15 different supermen and secret agents and shit flipping around shooting magic beams and power waves and explosive arrows and laser things and doing super punches and alley ooping each other and what not as they fight against an army of flying wiseass robots. There are two main characters who wear capes, one that turns into a giant monster, one that’s from a viking fantasy dimension or whatever, at least two that fly of their own accord and two using the jets on their power suits, one that moves faster than sound and another that does mind control and shoots red, uh… magic I guess?… from her hands. It’s not played exactly “gritty” but it’s not a joke either. It means it.
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.
After the election on Tuesday, which brought us 4 historic gay rights ballot victories, the first openly gay Senator and the most women in the Senate ever, it was a no-brainer to spend Friday night watching Spielberg’s movie about Abraham Lincoln and his people’s fight to eke together a coalition to pass the 13th amendment to the Constitution, ending 400 years of slavery. Also, 
Since I recently watched that movie CRASH that Roger Ebert said was the best movie of 2005, I decided to finally go back and watch the original David Cronenberg version, which in my opinion is pretty fucking different.
