And now we come to a 1994 artifact that doesn’t seem that dated culturally, except it’s in a genre – the legal thriller – that doesn’t really exist on this level anymore. Not as a slick, shot on location, big time theatrical summer release.
THE CLIENT is the third movie adapted from a novel by John Grisham, after THE FIRM and THE PELICAN BRIEF (both released in 1993). The book was his fourth, also released in 1993. The movie had a $45 million budget (more than THE SHADOW, SPEED or CITY SLICKERS II, almost as much as THE FLINTSTONES!) and was a big hit, making $117 million worldwide. Movies like this were a big deal then! (read the rest of this shit…)
When we lost the great Stuart Gordon recently, I realized there were a few of his films I still hadn’t seen. It’s kind of nice, actually, to still have something left to discover. There’s a particular one that happens in space that involves truckers that I honestly have wanted to see since before it even came out, and somehow never have. It’ll be a few weeks before I can finally change that, because I decided to order a UK Blu-Ray instead of pay Amazon to stream it in standard def. But I wanted to watch this one first anyway – the one based on the David Mamet play.
Gordon and Mamet, if you don’t know, go way back. Long before RE-ANIMATOR, Gordon was doing envelope-pushing theater work in Chicago. He directed, at his Organic Theater Company, the production of Sexual Perversity in Chicago credited with establishing Mamet as a playwright, although there was an earlier one starring William H. Macy, who also stars in this movie.
Here he plays Edmond Burke, a dude who works for some kind of financial firm called Stearns & Harrington. He’s apparently had a bad day (his meeting on Monday got pushed back to 1:15 – WHAT IN THE LIVING GOD DAMN FUCK!?) when he heads home and, on a whim, stops to get a tarot reading. She tells him “You don’t belong here.” (read the rest of this shit…)
a survey of summer movies that just didn’t catch on
July 22, 1999
MYSTERY MEN. Huh. There might’ve been room for a big budget super hero parody movie in 1999, if you’re into that sort of thing, but it needed better jokes than “ha ha, this would be a terrible super hero. What a dumb name and costume.” This is an impressive cast in a big, expensive comedy with very few laughs.
A group of amateur super heroes – shovel-carrying The Shoveler (William H. Macy, THE LAST DRAGON), fork-throwing Blue Raja (Hank Azaria, HEAT) and leather-jacket wearing Mr. Furious (Ben Stiller, NEXT OF KIN) struggle to find success or recognition. They’re definitely meant to be lovable underdog misfits, but I had trouble respecting them. It’s established that there’s an actual super powered guy called Captain Amazing (Greg Kinnear, THE MATADOR) who’s a douche and wears corporate logos like a NASCAR driver but he’s made Champion City so safe that he has to get his arch-nemesis Casanova Frankenstein (Geoffrey Rush, MUNICH) released from the asylum just to have something to do. Before that happens the unnamed Mystery Men couldn’t be little guys trying to make a different in a harsh world – they’re delusional losers trying to feel important by forcing themselves into a job that they’re not needed for, and are really, really bad at. I did not find them appealing. (read the rest of this shit…)
BLOOD FATHER is the kind of simple story that I like. Ex-con, now-sober John Link (Mel Gibson, GET THE GRINGO) tries to help his long-missing daughter Lydia (Erin Moriarty, THE KINGS OF SUMMER) get away from a cartel that wants her dead. To do it he has to violate his parole, go into bars, talk to bad people from his past (people he did time for who are still free, people he did time with who are still locked up), and of course kill some people. He’s reluctant – in fact he’s pissed about it – and his sponsor Kirby (William H. Macy) is freaking out. But by diving back into this darkness (while trying to keep the guns and the meth out of Lydia’s purse) maybe he can find some kind of redemption. He can see that her life is a huge mess, and he knows where she got that from.
This is a badass tough guy movie, but the action (blunt, old fashioned) is pretty slim. Doesn’t matter, it’s a character movie. Gibson, with beard and craggy face, looks cooler and scarier than ever, and at one point he has an explosion of anger that recalls both his mad, lethal history of craziness on screen and its less fun counterpart in real life. But mostly he’s that grumpy dude who’s actually a sweetheart. Crotchety about the AA shit, but genuine about staying clean. Living in a much worse trailer than Riggs, but seems to be an active member of his trailer park community, not some loner. Pissing off his ex-wife, but mostly by not letting go of his obsessive search for their runaway daughter. (read the rest of this shit…)
I laughed the first time I saw this DVD cover, Christian Slater with a combover and nerd glasses beneath that title, and clutching a bunch of dynamite. But I thought it was a serious movie. It turns out it’s a bit of a dark comedy and since it’s the only other movie from Frank Cappello, director of AMERICAN YAKUZA and NO WAY BACK, I decided to give it a shot.
The feel is very showed-a-couple-times-at-a-film-festival-somewhere, complete with low budget CGI, still-learning-supporting-actors and William H. Macy as the boss. But for what it is it’s pretty good.
Slater plays an ominously narrating fed up office drone who loads the gun in his desk and tells us who each bullet is meant for. But he decides today is not the day to go postal – timing is important. When he gets home his goldfish (a CGI cartoon like the one in the CAT IN THE HAT movie) scolds him for pussying out. “If I’d gone through with it nobody would be here to feed you,” he says, but the fish isn’t convinced. “I don’t care as long as the bastards are dead!” This is definitely one of the bitterest CGI animals outside of, obviously, Garfield. (read the rest of this shit…)
In Gus Van Sant’s 1998 remake of PSYCHO they tried to recreate Hitchcock’s filmatism, they had Joseph Stefano only slightly re-word his old script, they re-recorded Bernard Herrman’s score and made it sound basically the same. So the success or failure of this version mostly falls to the one element Hitchcock claimed to not give two shits about: the actors.
That’s trouble though because it was easy to predict that nobody could withstand comparison to Anthony Perkins as Norman Bates. It’s interesting to see someone else try to put a different spin on it, but I doubt you could find anyone who prefers Vince Vaughn or even thinks he comes a close second. I’m not sure who the miraculous casting choice who would work as Norman even though he’s not Anthony Perkins would be, but Vaughn ain’t the guy. (read the rest of this shit…)
Hey, “Moriarty” here. Just wanted to drop in to present a review that made me stand up and applaud. I am not a mean man when I write about film. I don’t think I take cheap shots at people. At least, I try not to. I think we all bubble over on occasion and… well…
… you remember when Vern fought and conquered the CHAOS DVD back in August?
Well, this is a better review.
Unless you are Paul Haggis. Or Emilio Estevez. Or pretty much the entire cast of BOBBY. In which case, you might want to go enjoy something over in Coax for a while, cause this… this gets ugly:
Question for you fellas:
Why is Emilio Estevez famous again? I can’t think of many legitimately good movies he’s in besides REPO MAN. People love their BREAKFAST CLUB, I think I liked STAKEOUT at the time, can’t remember. I think now he mostly just directs TV shows, but that’s not enough Gatorade to quench the artistic thirst for this guy. With his new all star ensemble BOBBY he’s going serious. He’s wearing two hearts, one on each sleeve, maybe even has his targets set on the Academy’s notorious weakness for actors turned directors. Who knows what those chumps will fall for these days? (read the rest of this shit…)
This is a good picture by a Cinema Artist who knows what the fuck he’s doing but still it’s almost too much for ol’ Vern and I’m gonna tell you why. But hold on there bud I’ll get to that in a minute.
The movie starts out with the song “One is the Loneliest Number” and maybe it’s just me but I don’t think it’s a coincidence that every one of the motherfuckers in this movie is lonely as hell. You got the divorced cop who drives around talking to himself about his job pretending he’s on COPS. You got the young coke snorting gal who sleeps with older dudes like myself and enstranges from her parents. You got her dad, the game show host dying of cancer; you got the TV brainiac kid that hates answering questions, the former brainiac that wants braces for god knows why, the old man on his deathbed, his emotionally unstable young wife, his nurse… I mean I could go on all day but you might as well just see the thing and make a list of all the characters yourself. I mean hell I know I’m Writing a review here but you can’t expect miracles out of me jesus. (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
Skani on Man, I don’t know.: “Hi @GlaiveRobber – I think you raise good points here. I think Trump is pretty damn hardy for his age,…” Nov 17, 03:34
Franchise Fred on Man, I don’t know.: “Do I have a Letterboxd account? I never use it. Is there a fake Franchise Fred????” Nov 16, 20:49
Glaive Robber on Man, I don’t know.: “Skani, many thanks for the reply. I may have been a little misunderstood. I do honestly think there should have…” Nov 16, 20:24
Skani on Man, I don’t know.: “Hey Fred, I’m glad some of this nonsense has been helpful to someone. Other than a LinkedIn account under my…” Nov 16, 20:18
Franchise Fred on Man, I don’t know.: “Skani, I have appreciated your very level headed posts about some very volatile subjects in this thread and would even…” Nov 16, 17:16
Skani on Juror #2: “That’s pretty hilarious, Milton Friedman and Chomsky. No, yeah, that’s about right, as far as my read on Eastwood –…” Nov 16, 14:42
Miguel Hombre on Juror #2: “Man oh man, I do not want to start a war on another thread about politics – but since Eastwood…” Nov 16, 14:31
Skani on Juror #2: “Miguel, that’s all very well-said, and I did not know that shit. I am a more casual Clint fan, but…” Nov 16, 14:03
Miguel Hombre on Juror #2: “Skani: This is also in no way a defense of Zaslav either – but Warner Brothers has released a very…” Nov 16, 13:34
Skani on Man, I don’t know.: “Actually, I should say — a lot of my analysis of media is based on written news, and I can’t…” Nov 16, 13:25
Skani on Man, I don’t know.: “Hey, @GlaiveRobber – To your first point about masculinity. There definitely is a “there” there with the concept of “toxic…” Nov 16, 13:13
VERN on Juror #2: “The problem with that is that the investment of streaming movies is just promoting your streaming service, or your stock…” Nov 16, 09:52
Glaive Robber on Man, I don’t know.: “@Skani, my lie detector hasn’t found anything in your post. Pretty legit. To that I’d add that yes, I think…” Nov 16, 09:28
CJ Holden on Juror #2: “Let’s be honest, from a cold business perspective, Zaslav seems to do everything correctly or the shareholders would’ve kicked this…” Nov 16, 09:24
July 20, 1994
When we lost the great Stuart Gordon recently, I realized there were a few of his films I still hadn’t seen. It’s kind of nice, actually, to still have something left to discover. There’s a particular one that happens in space that involves truckers that I honestly have wanted to see since before it even came out, and somehow never have. It’ll be a few weeks before I can finally change that, because I decided to order a UK Blu-Ray instead of pay Amazon to stream it in standard def. But I wanted to watch this one first anyway – the one based on the David Mamet play.
July 22, 1999
BLOOD FATHER is the kind of simple story that I like. Ex-con, now-sober John Link (Mel Gibson, 
I laughed the first time I saw this DVD cover, Christian Slater with a combover and nerd glasses beneath that title, and clutching a bunch of dynamite. But I thought it was a serious movie. It turns out it’s a bit of a dark comedy and since it’s the only other movie from Frank Cappello, director of AMERICAN YAKUZA and NO WAY BACK, I decided to give it a shot.
In Gus Van Sant’s 1998 remake of PSYCHO they tried to recreate Hitchcock’s filmatism, they had Joseph Stefano only slightly re-word his old script, they re-recorded Bernard Herrman’s score and made it sound basically the same. So the success or failure of this version mostly falls to the one element Hitchcock claimed to not give two shits about: the actors.
SPOILER ALERT !!
This is a good picture by a Cinema Artist who knows what the fuck he’s doing but still it’s almost too much for ol’ Vern and I’m gonna tell you why. But hold on there bud I’ll get to that in a minute.
