Many of these August ’92 movies I’ve been reviewing have been grueling, but there are some good ones among them, even great ones. To make up for the toil of watching CHRISTOPHER COLUMBUS: THE DISCOVERY and LITTLE NEMO, August 21, 1992 also brought us Paul Schrader’s LIGHT SLEEPER. It was the filmmaker’s first time writing and directing since 1987s’ LIGHT OF DAY (though he’d directed PATTY HEARST and THE COMFORT OF STRANGERS and written THE LAST TEMPTATION OF CHRIST since then). And it’s up there with his best work.
The troubled journal-writing outsider this one centers on is John LeTour (Willem Dafoe, WILD AT HEART), a New York City drug deliverer who’s having a bit of a crisis because his boss Ann (Susan Sarandon following THELMA & LOUISE and a cameo in THE PLAYER) seems pretty serious about starting a cosmetics company and going straight. He’s 40 and this has kept him going in the four years since he kicked drugs and he doesn’t know what he’s gonna do with his life. He has an idea about getting involved in recording music, but I’m not sure how realistic he thinks that is. (read the rest of this shit…)
Even before that fake baby in AMERICAN SNIPER, people were talking like Clint Eastwood was some confused old man who doesn’t know how to direct a movie anymore. Gotta disagree. I know I’m far from the only one who really enjoyed and was surprised by THE MULE, and now that I’ve caught up with Clint’s latest director-only drama, RICHARD JEWELL, I’m here to tell you that’s a good one too. Really good, and to me it’s by far the most compelling of what now seems to be a Real American Heroes series with SNIPER, SULLY and THE 15:17 TO PARIS*.
Okay, yeah, so there’s a part where kids drinking beer in a dorm room have a poster on the wall that says “Beer 2 Night.” Have fun with that one. I didn’t notice the fake baby before so maybe there’s some in this one, I honestly don’t care. It’s a fascinating story, it made me laugh, it moved me, it has one of if not the best lead performance of last year. My friends, I have Jewellmania. (read the rest of this shit…)
Shortly after Taika Waititi’s JOJO RABBIT was nominated for best picture I started to see people cast aspersions. Before that I had mostly heard that it was only okay. And that was kind of what I expected, because I first knew Waititi from WHAT WE DO IN THE SHADOWS, and that’s one of those movies that I saw and thought was pretty funny but when five years passed and people were still talking about it like it was the first time they fell in love I couldn’t relate.
That was a stupid thing to get hung up on. Since then Waititi had become better known for injecting the THOR series with life, color and humor, and more importantly he’d made THE HUNT FOR THE WILDERPEOPLE. I loved that movie, and JOJO is in a similar vein: a funny, clever story with deep emotions bubbling up from beneath its quirky surface. Which admittedly feels weird to say, because it’s about, uh, Nazi Germany.
Johannes (Roman Griffin Davis, his first movie) and his friend Yorki (Archie Yates, UNTITLED HOME ALONE REBOOT) are enthusiastic participants at a sort of MOONRISE-KINGDOM-looking Hitler Youth summer camp. They’re big nerds taking great pride in learning all the normal boy scout camping shit, and they look like they could be in a live action Peanuts movie, but they’ve also been convinced it’s their patriotic duty to spout all the nonsense they’ve been taught about Nazis being the good guys and Jews being monsters. (read the rest of this shit…)
When I heard writer/director Adam McKay was doing a movie with Christian Bale (TERMINATOR SALVATION) playing Dick Cheney, I couldn’t picture what that would be, but I assumed I would love it. The former Saturday Night Live writer has much more experience in beloved Will Ferrell comedies than in Serious Important Movies, but I enjoyed THE BIG SHORT‘s novel and audacious attempt to make entertainment out of explaining the early 2000s housing bubble. Many worship ANCHORMAN or STEP BROTHERS, but for me it’s TALLADEGA NIGHTS: THE BALLAD OF RICKY BOBBY that makes me laugh no matter which part I rewatch for the one-thousandth time on cable. Maybe people don’t think of it this, way, but to me it’s the best pop culture portrait of what was going on in our country during the Bush years. So I figured McKay had good instincts about this stuff. (read the rest of this shit…)
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is playwright turned IN BRUGES/SEVEN PSYCHOPATHS director Martin McDonagh’s exploration of a grieving mother at war with the local PD. Her teenage daughter was raped and killed seven months ago, and she’s mad that they haven’t made any arrests, so she rents three billboards that bluntly explain the situation and blame the police chief by name.
I probly don’t need to tell you that this creates some tension in town. Chief Willoughby (Woody Harrelson, SEVEN POUNDS, SEVEN PSYCHOPATHS, TRIPLE 9, THE EDGE OF SEVENTEEN, 2012) tries to reason with her politely about taking it down. His deputy Dixon (Sam Rockwell, TEENAGE MUTANT NINJA TURTLES), who is locally infamous for an unexplained incident involving the torture of a black man, is not as cool-headed about it, and threatens poor Red Welby (Caleb Landry Jones, GET OUT) at the billboard company. The woman’s son Robbie (Lucas Hedges, MANCHESTER BY THE SEA) is traumatized and hurt by the graphic details of the murder he had previously avoided knowing. Her ex-husband Charlie (John Hawkes, STEEL), a domestic abuser and a cop, is embarrassed by it and doesn’t think it helps anything. (read the rest of this shit…)
COWBOYS AND/OR ALIENS starts out great. Daniel Craig wakes up with an apparent gunshot wound and a weird metal device locked to his wrist. He doesn’t remember who he is or what the fuck happened. He does remember how to fight, though, so when some guys try to rob him he kicks their asses, steals their clothes TERMINATOR style and heads into town. (And all this without talking.)
Other than that metal thing it plays as a straight western for a while. Paul Dano is a crazy asshole who terrorizes the town, shooting his guns off and demeaning innocent people because his dad (Harrison Ford) is the cattle baron and he thinks he can get away with anything. But when he picks out Craig, a random bystander, to flip some shit at, he finds himself crashing nose-first against a wall of badass. This stranger doesn’t know who the little shit is and can’t pretend to be scared of him, so he knocks him on his ass. In the scuffle the kid accidentally shoots a deputy, a crime the sheriff can’t overlook despite who his daddy is, so they both get arrested, to be transferred to federal custody the next day. (read the rest of this shit…)
Now that I’ve seen SEVEN PSYCHOPATHS I understand why the ads made it look so dumb: it’s too hard to explain. They made it look like some corny post-Tarantino “isn’t it funny, they’re hardened criminals but they’re arguing over a Shih Tzu!” type bullshit. And that’s in there – writer/director Martin McDonagh (IN BRUGES) is about the only guy whose style can remind me of Tarantino in a good way – but overall it’s weirder and more distinct than that.
In IN BRUGES the protagonists were hit men, and there was a subplot about a movie being filmed near where they’re staying. In this one the movie business is more central. Colin Farrell plays a clearly idiotic screenwriter trying to write something called SEVEN PSYCHOPATHS, but he doesn’t have much more than a title. He doesn’t even have seven psychopaths, so he just spends his time trying to think of concepts for different psychopaths, sometimes based on stories he’s heard or seen in the news. So we see these stories in his head, or going on around him, and fictional reality begins to blend with fiction-within-fiction. (read the rest of this shit…)
I saw KILLING THEM SOFTLY today and I’m working on the review right now, and that made me realize that when I finally caught up with the director’s previous movie earlier in the year I didn’t ever post a review of it. But it turns out I did write some stuff in my notebook, so I dug that up and I don’t mean to brag but I am a pretty good typist so here is a quickie review for you, friends.
THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD has gotta be the longest title to a movie that I’ve ever reviewed. What’s that, 17 syllables? THE BAD LIEUTENANT: PORT OF CALL NEW ORLEANS is only 11, LEGEND OF THE GUARDIANS: THE OWLS OF GAHOOLE is 12 or 13 (depending on your pronunciation of “owls”), and both of those have colons I think, so that softens the blow. This has no colons. This title is amazing. (read the rest of this shit…)
TEENAGE MUTANT NINJA TURTLES (1990) is a martial arts fantasy produced by Raymond Chow and Golden Harvest (ENTER THE DRAGON), with excellent animatronic and puppet effects by Jim Henson, and impressively agile fight and stunt sequences involving people in full body rubber creature suits. It has early performances by Elias Koteas and Sam Rockwell, and stuntwork by Ernie Reyes Jr. One major problem, though: it’s about teenage mutant ninja turtles. (read the rest of this shit…)
I never reviewed IRON MAN, because I just didn’t feel like I had anything new to say about it. I enjoyed it just like everybody else did, for the same reasons, and every websight I read had examined the shit out of it, so I just let it go.
Now part 2 is out and I almost did the same thing (tradition is very important to me) but as I was thinking about writing up an explanation of why I wasn’t writing up the movie I realized I did have a couple things to say, so what the hell. Review time. (read the rest of this shit…)
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Many of these August ’92 movies I’ve been reviewing have been grueling, but there are some good ones among them, even great ones. To make up for the toil of watching CHRISTOPHER COLUMBUS: THE DISCOVERY and LITTLE NEMO, August 21, 1992 also brought us Paul Schrader’s LIGHT SLEEPER. It was the filmmaker’s first time writing and directing since 1987s’ LIGHT OF DAY (though he’d directed PATTY HEARST and THE COMFORT OF STRANGERS and written THE LAST TEMPTATION OF CHRIST since then). And it’s up there with his best work.
The troubled journal-writing outsider this one centers on is John LeTour (Willem Dafoe, WILD AT HEART), a New York City drug deliverer who’s having a bit of a crisis because his boss Ann (Susan Sarandon following THELMA & LOUISE and a cameo in THE PLAYER) seems pretty serious about starting a cosmetics company and going straight. He’s 40 and this has kept him going in the four years since he kicked drugs and he doesn’t know what he’s gonna do with his life. He has an idea about getting involved in recording music, but I’m not sure how realistic he thinks that is. (read the rest of this shit…)
Even before that fake baby in 
Shortly after Taika Waititi’s JOJO RABBIT was nominated for best picture I started to see people cast aspersions. Before that I had mostly heard that it was only okay. And that was kind of what I expected, because I first knew Waititi from WHAT WE DO IN THE SHADOWS, and that’s one of those movies that I saw and thought was pretty funny but when five years passed and people were still talking about it like it was the first time they fell in love I couldn’t relate.
When I heard writer/director Adam McKay was doing a movie with Christian Bale (
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is playwright turned 
Now that I’ve seen SEVEN PSYCHOPATHS I understand why the ads made it look so dumb: it’s too hard to explain. They made it look like some corny post-Tarantino “isn’t it funny, they’re hardened criminals but they’re arguing over a Shih Tzu!” type bullshit. And that’s in there – writer/director Martin McDonagh (IN BRUGES) is about the only guy whose style can remind me of Tarantino in a good way – but overall it’s weirder and more distinct than that.
I saw KILLING THEM SOFTLY today and I’m working on the review right now, and that made me realize that when I finally caught up with the director’s previous movie earlier in the year I didn’t ever post a review of it. But it turns out I did write some stuff in my notebook, so I dug that up and I don’t mean to brag but I am a pretty good typist so here is a quickie review for you, friends.
TEENAGE MUTANT NINJA TURTLES (1990) is a martial arts fantasy produced by Raymond Chow and Golden Harvest (ENTER THE DRAGON), with excellent animatronic and puppet effects by Jim Henson, and impressively agile fight and stunt sequences involving people in full body rubber creature suits. It has early performances by Elias Koteas and Sam Rockwell, and stuntwork by Ernie Reyes Jr. One major problem, though: it’s about teenage mutant ninja turtles.
I never reviewed IRON MAN, because I just didn’t feel like I had anything new to say about it. I enjoyed it just like everybody else did, for the same reasons, and every websight I read had examined the shit out of it, so I just let it go.
