Movie Reviews

‘Rocky: The Knockout Collection’ 4K Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

When it comes to the genre of underdog sports films, they don’t make them any better than the original “Rocky.”  It was a film that came along at the right place at the right time and with the right actor.  After all, Sylvester Stallone was the writer of the original “Rocky” script, and he demanded to star in the film even though the studio wanted a big name.  Stallone was unknown at the time. It’s been 47 years since “Rocky” came out, but its staying power will last forever.  It is why I was extremely pleased to hear Warner Brothers was going to be releasing a collection of the first four “Rocky” films in 4K and in a set. It was one of my most anticipated releases of the year so far.

Many of you who are reading this review might be asking, “Where is ‘Rocky V?’ What about ‘Rocky Balboa?’ The ‘Creed‘ movies?” I heard rumblings that there are possible director’s cuts coming out for “Rocky V” and “Rocky Balboa.” As far as the “Creed” movies, I would imagine they will get a separate release, as they are part of their own universe. Now with all that out of the way, this review is going to focus on the first four “Rocky” movies and how they are available on 4K for the very first time.

The original “Rocky,” released in 1976, was nominated for 10 Academy Awards and won Best Picture.  When revisiting the film, which I’ve seen a number of times, it is easy to see why it has such staying power.  It starts with the relationship between Rocky Balboa (Sylvester Stallone) and a shy young woman named Adrian (Talia Shire) who works at a pet store.  For my money, “Rocky” is a love story, first and foremost, and it is a sports movie second. The interaction Rocky and Adrian have with one another in his apartment is one of the most tender and genuine love scenes I’ve ever seen on film.

Rocky Balboa is a local southpaw boxer in Philadelphia where he makes little to no money, and he takes a lot of abuse in the process.  He also collects for a local loan shark named Tony Gazzo, played by Joe Spinell. He hangs out at a local pub with his friend Paulie (Burt Young), who also happens to be Adrian’s brother.  Paulie isn’t always the easiest guy to get along with, but Rocky is a very patient and understanding individual.  As a matter of fact, you would be hard-pressed to find anyone that doesn’t like Rocky.  It’s a well-known fact these days that Stallone was not someone the studio wanted to portray Rocky.  However, the script was written by him, and he knew this character inside and out. He went on to write and direct “Rocky II, III and IV” which are also included in this set, along with “Rocky Balboa.”

That’s the beauty of this film.  Stallone was an underdog actor at the time he sold his script, and the film is about an underdog boxer who is given a chance to fight the heavyweight champion of the world, Apollo Creed (Carl Weathers), after Creed’s original opponent ends up injured.  Creed, being the shrewd businessman that he is, figures it would be a great idea to give an underdog a shot at the title in order to create a marketable gimmick and make some money. Rocky Balboa knows this is his chance to prove he can go make something of himself and stand out as a winner.  He is trained by the cranky yet seasoned Mickey (Burgess Meredith), who is finally willing to give Rocky a chance. The two of them joust verbally back-and-forth with one another for some great comedic relief.

In “Rocky II,” Rocky is dealing with life after the big fight with Creed.  Even though he didn’t win, he went the distance with the champion which shocked the world.  He lasted all fifteen rounds and lost based on the decision of the judges. Regardless, many people think Rocky was the true winner of the fight.  He has to figure out how to live a normal life now that he’s a well-known figure not only in Philadelphia, his hometown, but around the world as well. He starts to do commercials and even ends up with a manual labor job, but he realizes his true calling is as a boxer.

Apollo Creed also has a score to settle with Rocky.  He wants to knock him out and prove to the world and himself that he’s truly the world heavyweight champion. Creed wants to show everyone that what happened in their previous fight was a fluke.  Rocky, on the other hand, might go blind if he gets in the ring again after what happened in their last fight. He took quite a beating, but he came back for more.  He knows he’s a fighter, and he knows the risks, even though he has to think of Adrian now and their child. Mickey has devised a plan for Rocky which he thinks will allow him to win the fight and protect his eyes at the same time.

In “Rocky III,” Rocky is forced to handle success.  He learns that Mickey has been protecting him from the really good fighters out there because he wants to keep him safe and look out for him. This causes Rocky to feel like a paper champion and question his manhood.  There is also a tough challenger coming for him by the name of Clubber Lang (Mr. T) who is hellbent on embarrassing Rocky in the ring and becoming heavyweight champion of the world.  This time, though, he has a new trainer in Apollo Creed.  Rocky once again must learn a new fighting style: it is one based on endurance and speed. Clubber Lang is bigger and stronger than Rocky, so it will take everything Rocky has in him in order to defeat him.

“Rocky IV” is where it gets very interesting, as there are two cuts of the film featured here on one disc. There is the original “Rocky IV” theatrical cut and also “Rocky IV: Rocky vs. Drago,” which is the ultimate director’s cut.  This time, Rocky finds himself having to fight his biggest opponent yet in Ivan Drago (Dolph Lundgren), who is a foot taller and thirteen years younger than him. He also must train in Russia as the fight will be taking place there on Christmas Day.  Rocky will not only train like he never has before, but he will have to win in enemy territory against “The Russian,” as he’s referred to many times throughout the course of the film.

I didn’t want to give four full-length reviews for these films, as I imagine almost anyone reading this has seen and knows them fairly well, much like myself.  If I were to give my ranking of the films featured in this set, I would go with the original “Rocky” as the best, “Rocky II” as the second best, “Rocky IV: Rocky vs. Drago” as the third best, and “Rocky III” as the fourth best.  I would really advise you to check out the ultimate director’s cut of “Rocky IV” over the theatrical cut.  It’s only two minutes longer, but the film is more serious, intense, and flows in a much more effective manner.  It’s all in the tone of the film, and I loved the tone of the ultimate director’s cut.  It really gave me a new appreciation for the fourth “Rocky” film.

As soon as this set arrived, it only took me two days to go through all four films.  It was truly a treat to revisit them.  I understand why they released these four films in a set together.  It makes sense after watching them.  You can also buy them as standalone steelbooks at your local Best Buy, but I believe they have different release dates.  This set is out right now and while it is far from perfect, I’ll explain why later, if you are a “Rocky” fan, you have to buy this set for your collection.  The original “Rocky” will always be a great, great piece of cinematic history. The second film is very, very good as well.  The third one is good, but not great.  “Rocky IV: Rocky vs. Drago” is also much improved with the ultimate director’s cut.

4K Info: “Rocky: The Knockout Collection” is released on 4K from Warner Brothers Home Entertainment.  This set features five discs. The first three films are on their own individual discs and “Rocky IV” has the theatrical cut and the ultimate director’s cut on it.  There is also a Blu-ray disc of special features.  The set also comes with a digital code to have all of them in your digital library on 4K. “Rocky” has a running time of 119 minutes, “Rocky II” has a running time of 120 minutes, “Rocky III” has a running time of 100 minutes, and “Rocky IV” has a running time of 91 minutes (theatrical cut) and 93 minutes (ultimate director’s cut). All the films are rated PG. The set comes in a flipper case with a thick cardboard slipcover, so the discs are not stacked on top of each other and can be flipped through with their own slot.  On one hand, I would have loved it if they released these films in four separate cases with slipcovers in a box set.  However, for space reasons, this set works for me as it’s easy to put on the shelf with all four films together on five discs (including the Blu-ray special features disc) in a single set which isn’t much bigger than your average 4K film with a slipcover. All of the films come with Dolby Vision as well, which I was VERY happy with as a 4K collector.

Video Info: Let’s talk about the look of these films.  The original “Rocky” is probably the worst looking film out of the bunch.  I say this because of the age of the film and its low budget.  It doesn’t look awful or terrible, but I don’t think it’s ever going to be a film that looks spectacular or blows you away. There is noticeable grain here, but in many ways, it adds to the gritty nature of the original film.  That being said, if you are looking for a major upgrade with the first film on 4K, you probably are going to be disappointed.  “Rocky II” looks very, very good.  It’s a clean transfer which is smooth looking and crystal clear.  The boxing scenes, in particular, look the best I’ve ever seen them look.  This is when you can see the Dolby Vision and the HDR really, really stand out. This is a major upgrade. For “Rocky III,” the transfer is above average.  It’s better than “Rocky,” but it’s not as good as “Rocky II.”  There was noticeable grain, but it didn’t have the same old-school charm as the original look of the film. The best-looking film out of the bunch, far and away, is “Rocky IV.”  I wish the majority of the films looked like this.  This counts for both the ultimate director’s cut and the theatrical cut.  You can see everything on their faces, and they really cleaned up this film.  It looks beautiful and modern.

Audio Info: The following audio formats were used: English DTS-HD 5.1 Master Audio, English/Spanish/French Dolby Digital, and 2.0 Dolby Digital with subtitles in English, French, and Spanish. I’ve read from a lot of people online that are unhappy with how the films sound. Personally, I don’t think the audio issues are as bad as advertised, and the problems don’t take away from the viewing experience. At times, the films can fluctuate in audio, but the dips are not that frequent.  They are here and there throughout the four films. Truth be told, I would not have ever noticed these issues unless they were pointed out to me. Overall, though, I think it’s much to do about nothing.

Special Features:

“Rocky” 4K Special Features:

Audio Commentary featuring Sylvester Stallone.

Audio Commentary featuring John G. Avildsen, Irvin Winkler, Robert Chartoff, Talia Shire, Carl Weathers, Burt Young, and Garrett Brown.

Audio Commentary featuring Lou Duva and Bert Sugar

Bonus Features Disc:

The Making of Rocky vs Drago: Keep Punching

8mm Home Movies of Rocky

3 Rounds with Lou Duva

Steadicam: Then and Now

Staccato: A Composer’s Notebook

The Ring of Truth

Tribute to Burgess Meredith

Stallone Meets Rocky

Trailers

* * * ½ out of * * * *

Should You Buy It?

This set was delayed in getting to me as it had a street date of February 28th, and I imagine a lot of that had to do with people complaining about the audio issues. I’m not a film snob by any means, but I am very particular about the audio and visual quality of 4K releases, as I’ve invested heavily into the 4K format.  With all that being said, the pros outweigh the cons.  Yes, not all of the films look great, but this is the best they have ever looked, with “Rocky II” and “Rocky IV,” in particular, looking fantastic.  Yes, the audio is problematic at times, but it’s not so noticeable that it impacted my ability to hear the films or enjoy them.  Right now, the set is going for about $53 plus tax, and I think for four films in 4K that are hugely popular, it’s a good value for the price. I would say this set is imperfectly perfect, as I enjoyed watching the films and the quality of them when they were flying on all cylinders.  For film fans or Rocky fans, I think there is A LOT more to like than dislike with this collection. You can buy this set with confidence and try to ignore all of those folks out there who are analyzing every little detail to death. I think people are getting way too particular with 4K films, and this is coming from someone with high standards. The key is watching and enjoying the films with quality video and audio, and I felt I was able to do that more often than not. As far as the films themselves, many would argue these are the best films in the franchise, so it’s fine that “Rocky V” and “Rocky Balboa” are not included.  “Rocky Balboa” is enjoyable nostalgia, and I imagine it will get a proper 4K release along with “Rocky V” at some point. As I often bring up, the special features are old special features. It’s hard to get people to sit down and do special features anymore, I feel like. At the end of the day, buy this set and enjoy it!

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Savages’ – Oliver Stone Once Again Descends into a Realm of Drugs

Posted on by The Ultimate Rabbit

WRITER’S NOTE: This review was written back in 2012. Some edits have been made since then to make it more interesting in the Ultimate Rabbit’s eyes.

“Savages” is being looked at as Oliver Stone’s comeback movie, as if it is implied that he hasn’t made one worth watching in years. Granted, movies like “World Trade Center,” “Wall Street: Money Never Sleeps” and even “W.” might have made it look like Stone was starting to get too soft on us, but none of these movies, however, showed him to be losing any of his power as a filmmaker. I guess we just miss him generating some kind of controversy because we all expect him to have some conspiracy he is just waiting to unleash on an unsuspecting populace.

Based on the book of the same name by Don Winslow, “Savages” shows Stone getting down and dirty again as the film deals with a couple of weed producers who, quite unfortunately, capture the attention of a brutal and greedy Mexican cartel. While it doesn’t reach the exhilarating highs of “Natural Born Killers” or “Scarface” (which he didn’t direct but wrote the screenplay to), it is still a compelling film to watch. However you look at it, Stone is not about to play it safe with the story or its characters this time around.

Blake Lively stars as O (short for Ophelia) who begins “Savages” by saying that just because she’s narrating the movie does not mean she will be alive at the end of it. Now this is a clever beginning as Stone teases us with the possibilities of what is to come, fully ready to rip the rug out from right under us if the occasion calls for it. These days, it is so nice to see any filmmaker, let alone one who has won several Oscars, take such risks these days.

O lives with her two boyfriends, former U.S. Navy SEAL Chon (Taylor Kitsch) and University of California at Berkeley graduate Ben (Aaron Johnson), both of whom happen to grow some of the best marijuana you could ever hope to inhale. They live their days in Laguna Beach, California which is so beautifully captured by cinematographer Dan Mindel to where I want to drive down there in a New York minute. Heck, I used to go to school near there!

Anyway, Chon and Ben receive a very cryptic message from the Baja Cartel which comes along with a video featuring beheaded drug dealers whom, like these two guys, were independent sellers. Basically, the cartel wants to go into business with them and take a cut of their profits. Chon and Ben, however, refuse to get involved with any cartel, and they make plans to move out of the country with O to another where they can stay for at least a year. But the head of the cartel, Elena Sánchez (Salma Hayek), believes these guys need to show her some respect, so she gets her henchmen to kidnap O in order to make them comply with her demands. But Chon and Ben are not about to let go of their O without a fight.

The movie’s title, “Savages,” makes me wonder who it is referring to among its cast of characters. It is tempting to think it refers to the Baja Cartel as they utilize horrific methods to get what they want, but it could really be referring to any of the characters we see here. Stone is examining just how far we can be pushed before we are forced to embrace our animalistic nature, and he gets at this horrifying truth of what violence we are all capable of when we get pushed to extremes.

“Savages” is far from original as its story may remind many of their favorite “Miami Vice” episodes. With a movie like this, I expected Stone to be pushing our buttons a little bit harder than he does here. But even though I came out of it feeling Stone could have gone even further with the violence, the action is still jolting and, at times, extremely graphic; one guy even finds one of his eyes hanging out of its socket during a moment of torture. Stone also utilizes his many ways of shooting which include black and white footage along with scenes of psychedelic power as characters find themselves under the influence either by choice or by force.

Now I don’t care what anybody says, Blake Lively is a good actress. Many seem to sneer whenever she is starring in a movie, but maybe this is because she was on “Gossip Girl,” a show I have never bothered to watch. Lively has to take her character of O from being a fun seeking woman to one who has to learn to live again, and she is excellent throughout. After her turn as a drug addicted single mother in Ben Affleck’s “The Town,” there should be zero doubt that she can act.

It has been a tough year thus far for Taylor Kitsch who has seen two big budget blockbusters he starred in, “John Carter” and “Battleship,” bomb hard at the box office. Then again, those movies probably would have bombed no matter who starred in them. With his role as Chon, he shows a toughness and attitude which is not easily faked, and you can see why so many were looking to cast him in their projects. Many actors yearn to play a ballbuster when given the opportunity, and Kitsch rises to the occasion and gives a terrific performance.

Aaron Johnson, who plays Chon’s more philosophical partner Ben, seems to have grown up a lot between this movie and “Kick Ass.” Once again, Johnson is playing a character who is eager prove himself and yet completely unaware of what that will take. From start to finish, he does an excellent job of transitioning his character from a peaceful man to a bloody defender of what he loves.

But leave it to some acting demigods to give “Savages” its potent power which nails us right into our seats. Benicio Del Toro is brilliant as the sociopathic henchman Lado. Like the most entertaining cinematic sociopaths, Lado is at times charming while more often menacing and extremely sick. He thinks nothing of killing people when the opportunity presents itself, and Del Toro looks to be having a blast as he explores the different facets of his character’s twisted personality.

And then there’s Salma Hayek who singes the screen as drug queen Elena Sánchez. All Hayek has to do is give the audience one look, and you know this is a person you do not want to mess with. She also gets a surprisingly complex character to play as Elena’s ascent to being a big-time drug dealer had more to do with tragedy than it did with opportunity.

“Savages” also features strong performances from John Travolta as a corrupt DEA agent, Emile Hirsch as the money launderer Spin, and Demián Bichir as one of Elena’s representatives, Alex. There is not a single weak performance to be found here as everyone looks to be as thrilled as can be to be acting in an Oliver Stone movie.

Now there has been some controversy over the movie’s ending as it offers up two very different conclusions. The way it comes across reminded me of when Michael Haneke got one of his characters to grab a remote control to reverse and alter the events in “Funny Games.” Both directors are looking to mess with our heads. While the fates of the characters are not entirely resolved, it was worth seeing things turn out the way they did as some end up getting very clever about the situations they are trapped in.

Is “Savages” classic Oliver Stone? Not quite, but it is certainly more potent and energetic than some of his other recent work. Give him the right story, and he can still give you a cinematic experience like few others can.

* * * ½ out of * * * *

‘Training Day’ Movie and 4K UHD Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

It has been a long time since I have sat down and watched “Training Day” from start to finish.  Upon hearing about its 4K release from the fine folks over at Warner Brothers, I was looking forward to sitting down and revisiting it and seeing how it would hold up twenty-two years later.  Denzel Washington can always be counted on to give a powerful performance, and he does not disappoint here in a role that earned him an Oscar.  Ethan Hawke is one of Hollywood’s most underrated actors, and the pairing of these two together was something I looked forward to with great anticipation. When you throw in the direction of Antoine Fuqua, a frequent collaborator with Washington, everything seemed to be in order for a great film.

“Training Day” opens up by introducing the audience to Jake Hoyt, played by Hawke.  Jake is a young up-and-comer on the police force who is looking to make a name for himself in the Los Angeles Police Department.   But before he’s considered for a promotion, Jake must spend a day under the watchful eye of Detective Alonzo Harris (Denzel Washington) who will see if he’s cut out for the big leagues.  Jake is looking to clean up the streets and get rid of the drugs and crime in the Los Angeles area.  He’s eager to learn from Alonzo, but he’s not exactly sure what to make of him as Alonzo has a big personality. Also, Alonzo doesn’t always play by the rules. 

In Alonzo’s mind, he has to do what is necessary to survive out there in Los Angeles as a detective.  The great director William Friedkin used to talk about how there was a fine line between the police officer and the criminal as well as the good guy and the bad guy.  Alonzo is someone who definitely falls under that category.  However, the more time Jake spends with Alonzo, the more Jake realizes he didn’t exactly sign up for Alonzo’s unique style of being a detective.  Alonzo has got an edge to him, and it is something which makes Jake quite uncomfortable at times.

Make no mistake about it, this is Washington’s movie.  It is a big performance from the actor as he finds himself in many situations where he seems to be in control of things, but he’s also losing his sense of reality.  When certain people get into a position of power, they don’t always know when to stop or reel it in before it ends up biting them in the behind. Washington is captivating on screen, and he hits all of the right notes without ever being too over-the-top.  Yes, it’s a showy, loud and in-your-face performance, but this is what the film needs in order for the character to come across the way writer David Ayer and Fuqua drew him up to be.

Hawke, on the other hand, is subdued for most of the film, but you can also see the anguish on his face.  He’s uncomfortable by this whole situation, but he’s not in a position of power where he can do anything about it.  In the last forty-minutes, Hawke gets his chance to shine, and he delivers in a meaningful and intense way. He’s one of those actors who knows how to make big moments count.  In many ways, Jake is waiting in the wings and waiting for his chance to pounce and take over. Jake is not corrupt or out for money like Alonzo.  He truly wants to be a good cop and help people.  Their car rides provide for fascinating dialogue as we see the hardened and rough Alonzo interacting with the young and prideful Jake as he tries to fight off the cynicism and charisma of Alonzo.

Overall, “Training Day” is far from a perfect film.  The acting, though, is flawless.  Every single actor on screen is at the top of their game.  We even get scenes with Snoop Dogg and Dr. Dre.  The soundtrack is also really, really good.  However, I found the script to be a little bit repetitive in certain instances.  After a while, we get the idea of what’s happening with Alonzo and his moral compass.  We know what to expect from him and, at times, it seems like it’s the same scene just played out in a different setting and with different actors.  I was looking for more character development as well from the supporting cast.  The two leads could have been fleshed out more too.

In the end, the performances from Hawke and Washington mixed with a violent and brutal final act are what make this film worth watching and worth recommending.  I think it’s a good cop movie, but it could have been a great cop movie.  It’s a good movie with great performances, and I wish it was as good as the performances from its leads.  As mentioned previously, the third act features some really, really gripping material which stayed with me.  The middle act, however, tends to drag and seems to be spinning its wheels. I liked “Training Day” a lot, but I didn’t love it.

* * * out of * * * *

4K Info: “Training Day” is released on a two-disc 4K combo pack from Warner Brothers Home Entertainment.  It comes with the 4K, Blu-ray and a digital copy of the film as well.  I found it interesting, however, that the 4K and Blu-ray are in Blu-ray packaging as opposed to a black 4K case.  It was different, and I didn’t mind it, but it is worth noting.  It also comes with a really nice slipcover. The film has a running time of 122 minutes and is rated R for strong brutal violence, pervasive language, drug content and brief nudity. The 4K looks really, really good with its HDR.  When the film gets darker, it has a really grim and moody look that makes it worth the upgrade.  This is the best I’ve seen this film look, and I was very impressed with the finished product.

Audio Info: We are treated to a Dolby Atmos track, and it really packs a big wallop here during the more intense and violent scenes.  However, it’s not so loud and overwhelming that it’s distracting or you need to look for your remote.  It’s perfect.

Special Features:

Pharoahe Monch’s “Got You” music video

Nelly’s “#1” music video

Deleted Scenes

Commentary by director Antoine Fuqua

“Training Day:” Crossing the Line Featurette

Alternative Endings

Should You Buy It?

Considering the memorable moments and performances, “Training Day” is a film I firmly believe you should add to your 4K collection.  As per usual, we get the same special features that have been transported over from the Blu-ray release.  I can’t be disappointed by this anymore, as it’s to be expected.  At this point, if you don’t own “Training Day” at all, or if you own the Blu-ray, you are wondering if you should upgrade to 4K.  In my eyes, it’s a no-brainer. I loved the dark and murky look of it.  It’s an unsettling film (in a good way) and the HDR transfer really encapsulates the dread and moodiness. If you haven’t seen the film before, there is a lot to like from Hawke and Washington on screen.  Washington shows why he is one of the greatest actors of his generation as he crushes it here.  Hawke, one of my favorite actors, gives a very subdued, conflicted and under-the-radar performance which only gets better with age.  This is a film which, if you are going to own it, you have to own it on 4K.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

‘Irreversible: Straight Cut’ – Gaspar Noe’s Infamous Film Still Packs a Devastating Punch

Posted on by The Ultimate Rabbit

I remember when Gaspar Noe’s “Irreversible” was released in 2002 and of the polarizing responses it received at the Cannes Film Festival and from audiences around the world. A rape and revenge story which, like Christopher Nolan’s “Memento,” is told in reverse and comprised of scenes done in long takes, it is still best known for two scenes of punishing ultraviolence: one in which Monica Bellucci’s character is raped in an underpass which lasts for almost ten minutes, and another where a man’s face is bashed in by a fire extinguisher to where he is no longer recognizable to anyone.

I never got to watch “Irreversible” when it played at a theater near me. Back in the day, I considered myself quite the adventurous moviegoer as I went out of my way to watch those films which did not often screen at the local multiplex because they were considered too disturbing for mainstream audiences. But after being so emotionally drained by “Breaking the Waves” and “Dancer in the Dark,” not to mention going through the cinematic equivalent of electric shock treatment that was “Requiem for a Dream,” I was not sure I could stomach what “Irreversible” had to offer, so I waited to view it on DVD where I could lower the volume or fast forward through the hard to watch parts.

Still, part of me regretted never having witnessed Noe’s unnerving film on the silver screen, and this is coming from someone who watched Larry Clark’s controversial “Kids” in a theater with his parents. But now, Noe has released a new cut entitled “Irreversible: Straight Cut,” and on top of it being remastered, it presents the story in chronological order this time around. The question, however, is if this cut will be just a mere gimmick.

The story remains the same with lovers Alex (Monica Bellucci) and Marcus (Vincent Cassel) going to a party along with Alex’s former boyfriend, Pierre (Albert Dupontel). But this straight cut starts with Alex and Marcus waking up after a night of passionate love making. I love watching this opening scene as the intimacy between these two characters, played by actors who were married at the time, as it is so lovely and unforced. So much attention has been paid toward those two unwatchable violent scenes that many forget about these scenes here. Seeing these two lovers together proves to be a wonderful sight as this intimacy is rarely shown enough in movies, and I came out of it feeling envious for Cassel as he got closer to Bellucci than I ever will.

From there, “Irreversible: Straight Cut” goes on a path which leads straight to hell as the road to it is always paved with good intentions. Alex is eager to bring Pierre along for the ride because she knows he gets along rather well with Marcus, and he still has feelings for her. Hearing Marcus and Pierre brag about who was better in bed with her played more strongly for me this time out in this chronological take. In fact, as we are thrust more deeply into one of “Irreversible’s” main targets which is toxic masculinity. Marcus is so consumed with rage over what happened to Alex that he is utterly impulsive and not using anything resembling common sense. Pierre is infinitely desperate to make Marcus see that he would be better off staying in the hospital with Alex rather than trying to seek vengeance and, even though I have long since seen the original cut, I found myself hoping Pierre would succeed this time around.

With “Irreversible: Straight Cut,” Noe has done an excellent job of making this version more than just a mere gimmick. The edits between each scene feel as seamless as they did before, and our attention is now glued to what may happen as opposed to what has already transpired. The more I watched this cut, the more I came to see how it dealt more with the uncontrollable impulses of man to where anything can happen, and this makes the final outcome all the more devastating. Truth be told, the events portrayed here remind me of all those moments I would love to get back as they created a level of damage I never intended.

As for the elongated rape scene, it remains as brutal and unnerving as ever. I did see one man walk out of the theater during it, and part of me expected to see more audience members to do so. I found myself looking away from the screen at times as I became increasingly enraged as ever at what the unrepentant pimp, La Tenia (played by kick boxing champion Jo Prestia in a truly fearless performance), was doing to Alex. There are few other motion pictures I have sat through where I wanted to see a certain character die a most painful death, and La Tenia is seriously deserving of such a fate.

At this point, I should make clear some facts about the rape scene as many of “Irreversible’s” detractors consider this film to be “pro-rape,” something I completely disagree with. The truth is, Noe was not sure how long the rape scene was going to last, and it turns out Bellucci was the one who ended up directing the scene as she wanted it to be as disturbing as possible. Also, Noe’s camera is constantly moving all over the place throughout “Irreversible,” but it remains paralyzed throughout the rape scene as he wants us to remain in Alex’s frame of mind instead of La Tenia’s. Had the camera moved along with every thrust of La Tenia’s body, we would have been in his mindset, and that would have affected the morality of this film in an inescapable way. In my mind, Noe justifies the rape scene in “Irreversible” because of the way he filmed it.

Seriously, “Irreversible: Straight Cut” reminded me of when I first watched “Deliverance” years ago. While many motion pictures are meant to be enjoyed, this one was made to be experienced even if it was against my will. There is no easy escape from the rage of revenge here as Marcus descends even deeper into a hell which Pierre desperately wants to keep him away from. While I have watched “Irreversible” several times before, I still found myself praying still for another outcome.

This film has also been accused of being homophobic as Marcus yells out many degrading insults to the patrons at the Rectum club, but there a couple of things to consider. Noe himself has a cameo as a Rectum regular who is busy pleasuring himself, and this was his way of showing he was on equal footing with characters he portrayed here. As for Marcus, all I can say is that when you find yourself in a state of intense anger or rage, you find yourself saying things you never thought you would ever utter.

As for Pierre, whose vicious actions end up giving him the worst outcome in this film, he represents a case study of deep repression as he keeps his emotions deep inside. But when he bashes that guy’s head in with the fire extinguisher, his repression ends up finding an exit in the worse way possible, and he ends up destroying himself in a way he could never have seen coming.

Basically, what I am trying to say about either cut of “Irreversible” is that Noe did not make this film simply to shock audiences. Yes, he went out of the way to make us feel uncomfortable while we watched it, but there is more substance to this film than we initially saw on the surface of it. In the end, it presents us with a tragedy we would be best to avoid in our own lives as it is anti-rape and anti-revenge more than anything else. If you do not believe me, then you did not look at this film closely enough.

In comparing the two cuts, I have to say I prefer the original cut more as its reverse structure carries more dramatic weight. As we come to see these horrific acts and what led to them, each preceding scene makes us think about what could have been done to avoid such horrific fates. Still, “Irreversible: Straight Cut” gives audiences something to chew on even as it takes things to a finale which is as bleak as can be. When it comes down to it, I am curious to see what people think about the straight cut, particularly those who have not seen either cut before this one. With a film like this, the responses to it prove to be endlessly fascinating.

Come to think of it, comparing “Irreversible” to “Deliverance” reminds me of the pieces of advice characters give in each film. In “Deliverance,” Jon Voight tells Burt Reynolds, “Let’s go back to town and, ah… play golf.” Imagine the horrors those men would have avoided had Reynolds heard Voight out. But when it comes to “Irreversible,” it features a terrible piece of advice which hangs over the film as Alex attempts to cross a busy street when she is told by a woman nearby:

“Take the underpass. It’s safer.”

Original Cut: * * * * out of * * * *

Straight Cut: * * * ½ out of * * * *

Underseen Movie: ‘Sarah’s Key’ – A Unique Look at the Effects of the Holocaust

Posted on by The Ultimate Rabbit

“Sarah’s Key” is what some would say is yet another movie dealing with the Holocaust and its impact on us all, but do not be fooled into thinking it is going to be the same old thing. Based on the novel “Her Name Was Sarah” by Tatiana de Rosnay, it ventures into this dark part of history from a different perspective as we watch the French army and bureaucracy aiding the Nazi party as they rounded up Jews and shipped them to Auschwitz; this event was called the Vel’ d’Hiv’ Roundup. As the story moves back and forth in time from 1942 to 2009, American journalist Julia Jarmond (Kristin Scott Thomas) works to solve a decades-old mystery which can no longer remain hidden, and these days we are all sick of things remaining hidden.

In 2009, Julia has moved into an apartment with her French husband and teenage daughter. She had previously written a celebrated article about the Vel’ d’Hiv’ Roundup, and he soon learns her husband inherited the apartment from his grandparents who came into possession of it during the 1940’s. From there, she becomes obsessed in learning about the apartment’s history, and she learns it was the scene of an unspeakable incident. Finding out the truth about this incident, however, proves to be extremely difficult as her family sees it as too damaging to reveal to the world at large.

Julia’s main focus is centered on a young girl named Sarah Starzynski (Mélusine Mayance) who hid her little brother Michel in a closet to keep him from getting rounded up by the Nazis along with everyone else. She makes him promise to stay in the closet until she returns, and she takes with her the only key which can unlock it. But Sarah soon realizes no one will be going back home anytime soon, and she escapes her captors in a desperate attempt to save Michel before it’s too late.

Like Stephen Daldry did with “The Reader,” director Gilles Paquet-Brenner makes the transitions between the past and present feel seamless to where it never feels jarring. He also avoids turning “Sarah’s Key” into a schmaltz fest begging for Oscar consideration which is quite the relief. By getting naturalistic performances from the cast, he creates an atmosphere which feels real and not exaggerated for effect. You end up getting caught up so emotionally in the story and its characters to where you do not feel like you’re watching just any motion picture.

Thomas is an amazing actress who never gets the same acclaim actresses like Meryl Streep or Viola Davis do on a regular basis. Maybe it is because her acting is not as theatrical, but Thomas’ strength is in inhabiting characters to where you never catch her acting. She pulls off a flawless American accent to where she makes the act look effortless, and she speaks fluent French ever so beautifully.

Attention must also be paid to Mélusine Mayance who gives a very believable performance as the young Sarah. Called upon to portray a child going through horribly nightmarish circumstances, Mayance holds her own amongst the adults, and she breaks your heart through her utter commitment to the character she portrays. Throughout, she makes you share Sarah’s desperation in getting to her little brother before someone else does, and she makes you feel her accomplishments and disappointments in every which way.

“Sarah’s Key” is one of those movies I find it hard to find any fault with it. Everything seems to fit together perfectly, and nothing ever appears superfluous to the story. While it treads the well-worn ground of Holocaust movies and of what happened to millions of Jews, it finds an interesting angle by looking at the complicity of the French in this atrocity. It never did get much of a release as it spent little time in theaters near you, and you will probably be hearing about it more about on physical and digital media. Here is hoping that it finds a bigger audience than the one it has already gotten to date.

* * * * out of * * * *

Underseen Movie: ‘The Beaver’ – A Movie Which Deals Effectively with Depression

Posted on by The Ultimate Rabbit

“The Beaver” was Jodie Foster’s first feature film directorial effort since “Home for The Holidays” and it starts off with Mel Gibson as Walter Black laying on an inflatable cushion in his pool, looking lifeless as if any direction he’s had in life has been rendered completely non-existent. We quickly learn he is the CEO of a toy company, has a beautiful wife and two sons, and that he is severely depressed. We are meeting him at the point where he has been in this depressive state for quite some time, and it has gotten to where his wife Meredith (played by Foster) doesn’t want him living at home anymore, and his kids don’t know what to make of him.

After a failed suicide attempt, Walter is brought back to the land of the living through a hand puppet of a beaver which develops a life of its own after he puts it on his hand. With a Michael Caine cockney-like accent, the beaver tells him he is going to save Walter’s life. And sure enough, his life gets better very quickly as the beaver begins doing all the talking for him both at home and at work. But as time goes on, this beaver threatens to make Walter hit rock bottom in a way he may never be able to recover from.

“The Beaver” is a black comedy which gets blacker as it rolls along. The trailers made it look like a light affair, but this is most certainly not the case. It does have its funny moments, but it is really a serious examination of depression. This is an important issue because it is not something you can just simply get over regardless of what others will tell you. Depression can seriously debilitate you and affect those who love you the most, but not many fully understand this. The idea that you must go through life and take the punches which come with it can only go so far. Sooner or later, we find we can only take so much until we break. While some may have a great smile on their faces, they may be fighting a battle you know nothing about.

As Walter Black, Gibson reminds us of what a great actor he can be when given the right material. Aside from his work as a director, which really has been truly remarkable, it is easy to forget what a great presence he can be onscreen. Gibson captures Walter’s emotional downfall in a way few actors could, and he makes you care about him even as he heads further downhill emotionally. It is a brave performance that doesn’t hold anything back, and you have to admire the lengths Gibson goes here.

Foster remains an excellent actress as always, and seeing her acting alongside Gibson is a treat as they were so much fun to watch together in “Maverick.” She makes Meredith Black a strong-willed person who holds it together despite Walter’s behavior. It all makes Foster’s work even more fascinating to watch, and you sympathize with her plight throughout.

It is a real shame it took Foster 16 years to direct another movie. Her past efforts of “Little Man Tate” and “Home for The Holidays” showed a great eye for characters isolated from others because of who they are and what they are going through. Her work on “The Beaver” is especially commendable in that it is not an easy script to bring to the silver screen. Finding the balance between the comedy and drama makes this challenging even for the best directors working today. But Foster manages to pull it off like the professional she is, and she shows an incredible sensitivity to the subject of depression.

For me, “The Beaver” is one of the best films made about mental illness. The screenplay by Kyle Killen topped the 2008 Black List, a ranking of the best unproduced screenplays. I can see why as it features wonderful characters which are thankfully down to earth, and the dialogue feels fresh and does not contain an abundance of worn out clichés. Many will find the premise of a man working through mental illness with the aid of a hand puppet to be far-fetched and unbelievable. But this screenplay really takes some chances, and I honestly did not find any of what I saw as being beyond belief.

Besides, is it really that far-fetched for an adult to play around with puppets or stuffed animals? Look at these names: Jim Henson, Frank Oz and Ben Kenber. All these men have become well known for performing with puppets to the joy of many. Yes, I did put my name up there because I still have a love for stuffed animals which I used to make home movies with and sometimes bring to my day job. People may think this is strange, but I like how it sets me apart from the rest of the crowd.

In addition, there are other wonderful performances to be found here. The late Anton Yelchin, who did unforgettable work in the “Star Trek” movies, “Terminator Salvation,”  and “Green Room” among others. He is excellent as the Black’s oldest son, Porter. Throughout, he is terrified of becoming like his dad and implores his mother to divorce him. Yelchin makes what could have been a major brat into a fascinating individual whose endeavors in doing homework for others have long since become quite a profitable venture for him. His relationship with his father never feels contrived, so when we get to the end of the film, the emotions in their climatic meeting feels truly earned.

I also really liked Jennifer Lawrence as Norah, the popular valedictorian cheerleader who hires Porter to write her graduation speech. When this film was released, she was still riding high on the acclaim she received for “Winter’s Bone.” Norah is anything but a cliché, and she surprises us as much as she does Porter with a strong intelligence and a completely welcome lack of snobbery for a popular high school student. At the same time, she also hides a pain deep inside which defines her state of mind, and this presents her with something to overcome. Lawrence is great to watch here, and it was a sign that she had more great performances to give us which we eventually got in films like “Silver Linings Playbook.”

Congrats also goes out to young Riley Thomas Stewart who portrays the Black’s youngest son, Henry. It’s a remarkable performance for an 8- or 9-year-old as he has to convey both the confusion and effect his dad’s depression has on him. The scenes he shares with Foster and especially Gibson are wonderfully realized, and it helps that he has a former child actor directing him who knows how to coax a performance out of such a young human being.

Watching “The Beaver” reminded me of another great movie which had a big effect on me, “Lars And The Real Girl.” Both films featured characters whose pasts damaged them emotionally, and who seek release through unorthodox methods. With Gibson, it’s a hand puppet, and with Ryan Gosling it’s a sex doll he treats as his new girlfriend. Each takes what seems like a completely implausible story and surprises us by making it more than some average comedy which just dumbs everything down.

If you have not already seen “The Beaver,” I do hope you give it a look. Regardless of how you feel about Gibson these days, it’s an incredibly well made movie that takes a great script and visualizes it with respect and empathy to the subject of depression. While it was declared a “flop” after its first week at the box office, this should not define its worth. This film may not be for everyone, but those in the mood for something cinematically unique should find much to admire here. More importantly, I applaud any motion picture which takes the subject of depression seriously. It is not a mental condition that anyone can simply get over.

By the way, I love how Foster got Teri Gross of “Fresh Air” fame to do a cameo. I always wondered what her studio at WHYY in Philadelphia looked like, and we get a brief look at it here. Now how often does that happen?

* * * * out of * * * *

‘Bones and All’ Movie and Blu-ray Review

Posted on by The Ultimate Rabbit

The following review was written by Ultimate Rabbit correspondent, Tony Farinella.

“Bones and All” is a film I must admit I was not familiar with until I heard of its upcoming release on Blu-ray.  After hearing about its premise and the actors involved, I was immediately interested in checking it out.  It is an intimate little film which is unique in the way it tells its love story, and it’s filled with great performances and beautiful scenery. We live in a cinematic world where it’s all too commonplace for a film to be a remake, a sequel, or a copy of another film.  It is something to admire when a project like “Bones and All” comes along and decides to take an ambitious and outside-the-box approach on young love and mix it with cannibalism.  Director Luca Guadagnino (“Call Me by Your Name” and the “Suspiria” remake) is always on the cutting-edge of filmmaking.

The film opens by introducing us to Maren, played by the immensely talented Taylor Russell.  Russell has an incredibly expressive face throughout the course of this movie, and she plays this part just right as she balances the vulnerability of Maren along with the inner strength she has been forced to possess because of her situation in life.  Her father keeps her under lock and key and for good reason: she is an eater.  He never knows when she might decide to eat someone.  She first did it to her babysitter when she was younger, and it was something which caused her mother to pull away from her.  We find out why later in the film.

Maren’s father is played by André Holland, and he makes the most out of his limited screen time.  However, this is really the story of Maren and, later, of Maren and Lee, played by Timothée Chalamet.  While on her journey to discover more information about her mother and why she left her and her father, Maren meets Lee in Kentucky.  Lee is charming, charismatic, and an eater. For the most part, eaters do not eat other eaters, but they can smell when someone is an eater. The reason they meet is because Maren’s father decided there is nothing else he can do to protect his daughter.  He has done all he can for her, and she’s become a threat to anyone she encounters even though she’s very nice, shy, and soft-spoken.

Along the way, the bond between Maren and Lee grows even stronger.  This is the first time she has really been outside the house this much and been allowed to interact with people around her age.  She likes him, and he likes her.  They try to follow a moral code when it comes to the individuals they eat, but they do not always know their backstories, which can sometimes lead to Maren feeling like she’s a bad person. Lee is more experienced in this field and, because of this, he knows he needs to do whatever is necessary to survive.

There is also an older eater named Sully (Mark Rylance) whom Maren runs into earlier in the film.  He seems to mean well, but Lee is not exactly sure what to make of him because of the age difference and his overall demeanor. Maren tries to distance herself from Sully, but he seems to be around the corner at every turn.  Is he just a harmless old man?  Is he a threat to her and possibly Lee?  I was fascinated by the cannibalism angle of this film, as it does not really make a judgement on the characters.  Cannibalism is part of them, but they are seen as human beings and not monsters.  They are trying to live with it as best as they can and forge meaningful friendships and relationships.

“Bones and All” is one of those under-the-radar gems which is shot in such a naturalistic way by Guadagnino .  It really allows the audience to spend time with the main characters, get to know, understand and feel for them.  The love story between Chalamet and Russell is the lifeblood of this film.  It is what makes this film tick. Both on their own and together, they make movie magic on screen.  They have strong chemistry from the moment they meet each other, and it only increases as they are put together in various scenarios.  Rylance does a fantastic job of keeping the audience guessing as we are left to figure out what his true intentions are with Maren.

This film is truly a journey with its running time of 131 minutes.  At certain points, it can lag a little bit and feel a bit disjointed.  During other scenes, the pacing is exactly right as it allows things to breathe and have time to resonate with the audience.  The more and more I thought about “Bones and All,” the more I liked it.  It is not perfect, but the things which work, such as the relationship between the main characters, the gorgeous cinematography and direction are top notch.  This is a unique film that packs a powerful punch and is worth seeking out.

* * * ½ out of * * * *

Blu-ray Info: “Bones and All” is being  released on a single-disc Blu-ray from Warner Brothers Home Entertainment. The film is rated R for strong, bloody and disturbing violent content, language throughout, some sexual content, and brief graphic nudity.  It has a running time of 131 minutes, and it also comes with a digital copy of the film as well.

Video/Audio Info:  I really wish this film would have received a 4K release, as it’s a film shot with such scope and beauty.  I am a 4K guy and am always going to prefer a 4K release.  The Blu-ray, however, is still pretty good, picture-wise.   It comes in 1080p High Definition. For the audio, we got a Dolby Atmos track which is really impressive.  Subtitles are in English, French and Spanish.

Special Features:

A Look Inside

Luca Guadagnino: The Vision of Bones and All

Meet Lee

Meet Maren

Outsiders in Love

Should You Buy It?

As a firm believer in physical media and independent cinema, I think this is a film worth adding to your collection.  Sadly, the special features are noticeably short as they run around two minutes or less.  I would have enjoyed a little more detail with them.  However, with a film like this, maybe less is more as it allows the audience to come up with their own conclusions as it pertains to how they feel about the film.  I am also disappointed about the lack of a 4K release as it would have looked perfect in that ultra-high definition format.  The Blu-ray looks good, but a 4K of “Bones and All” would have been stunning.  As far as the film itself, if you are like me and enjoy being challenged by a unique story with powerful performances and great cinematography, you will find a lot to like with here. As of right now, the film is going for $27.99, which is a bit pricey for a Blu-ray.  If that were the price for the 4K, I would say you should buy it immediately.  As it stands, you should buy it, but I would wait for the price to drop.

**Disclaimer** I received a copy of this film from Warner Brothers to review for free.  The opinions and statements in the review are mine and mine alone.

No, I Haven’t Seen It Until Now: ‘Paris, Texas’

Posted on by The Ultimate Rabbit

Until this past week, the only Wim Wenders film I had ever seen was “The Million Dollar Hotel.” That one was a fascinating motion picture which dragged at times but still had moments that held me in a grasp few other filmmakers could ever hold me in. When all is said and done, the one thing we can all agree on is that it had a terrific soundtrack by U2, and that Mel Gibson should have kept his mouth shut during the film’s press day when he was caught saying it was “boring as a dog’s ass.” This proved to be one of the many times Gibson was obligated to apologize for saying something he never should have said.

But whether you consider “The Million Dollar Hotel” one of Wenders’ best or worst, films, you have to admit “Paris, Texas” shows him working at his filmmaking best. I caught a screening of it at the Nuart Theatre in West Los Angeles as this was a film crying out for me to watch it not at home, but on the silver screen in a darkened theatre. Knowing of its reputation as a Palme d’Or winner at the Cannes Film Festival in 1984 and having a beautifully subdued music score by the great Ry Cooder, I knew I was in  for quite a unique cinematic treat.

We open on the driest of deserts in West Texas to find a drifter named Travis Henderson (Harry Dean Stanton) wandering aimlessly while trying to find some water to drink. After passing out in a nearly empty saloon, he awakens in a clinic where a German doctor cannot get a single word out of him. Frustrated, the doctor calls a phone number Travis just happens to have on him, and it is answered by his brother, Walt (Dean Stockwell), who lives out in Los Angeles. It turns out Tavis disappeared without a trace four years ago, leaving behind his wife Jane (Nastassja Kinski) and their son Hunter (Hunter Carson). Why did Travis just up and leave? Well, much of “Paris, Texas” is dedicated to figuring this out, and the answers are never made easy to come by.

The first thing I have to say about “Paris, Texas” was how amazing and mesmerizing it was. Not once could I take my eyes off the screen as Wenders captured a Texas which was at once beautiful and haunted by a past its characters want to, but cannot, recapture or escaoe. It is also an unforgettable time capsule of life in the 1980’s in America as the story takes place in a time when you needed maps instead of GPS to find your way from one place to another, smoking was allowed on airplanes, and regular unleaded gasoline was only $1.07 a gallon (shit). But while things have changed a lot since then, the themes this film deals with still have a lot of resonance in this day and age.

For a moment, I thought Harry Dean Stanton and Dean Stockwell would go on the same kind of road trip Tom Cruise and Dustin Hoffman went on in “Rain Man,” and this was especially the case after we see their characters suddenly get off a commercial airplane and instead travel back to Los Angeles by car. “Paris, Texas,” however, speeds things up and has the two arriving in Los Angeles where Stanton’s character slowly starts to acclimate to civilization and his new environment while trying to reintroduce himself into his son’s life.

Stanton has gone on record in saying “Paris, Texas” is his favorite film out of all the ones he has done, and his performance as Travis may very well be the best of his career outside of “Repo Man.” His face is like a well-trodden landscape which says so much, and it is important to note this as Stanton does not say a single word for the first 26 minutes. It is fascinating to watch him act in a childlike manner as he sits in the backyard of Walt’s home while watching the airplanes fly in and out of Burbank Airport with a pair of binoculars. I also loved the interaction between him and Hunter as he slowly gains the trust of a long-lost son who, very understandably, is not quick to connect with him.

Dean Stockwell was on the verge of quitting acting and going into real estate when he got cast in “Paris, Texas,” and his performance shows how lucky we were that his talents were not robbed from us. What a shame it would have been if we did not get his Oscar-nominated performance in “Married to the Mob” or his co-starring role in the television series “Quantum Leap” had he not appeared here. In this film, he is the audience surrogate as, like him, we are desperate to figure out what Travis has been through in the four years he has been missing. Moreover, Walt must figure out how to deal with how he and his wife Anne (played by Aurore Clément) consider themselves the real parents to Hunter while trying to help Travis make a connection with someone whose life he was always supposed be a part of.

As for Hunter Carson, the son of this film’s co-writer, L.M. Kit Carson, he is perfect for something like this. “Paris, Texas” is a film which demands its actors inhabit their roles naturally rather than act or perform them, and Hunter is a kid who was clearly not brought up by stage parents thank goodness. He simply exists here as any other young child would which makes his scenes with the other actors even more authentic and moving, and this is especially the case in this film’s final moments which are as emotionally moving as one would expect them to be.

But the scenes which had me mesmerized the most were the ones between Stanton and Nastassja Kinski where Cooder’s score was not needed as their acting with one another via a one-way mirror and a telephone proved to be as subtle and intense as any onscreen acting I have ever witnessed. It is always a gift to be held at attention by two wonderful actors who give their roles every ounce of their being, and this is no mere exception in the slightest.

And when it comes to Kinski, who looks so much different than she did in “Cat People,” we do not see her appear onscreen until 53 minutes into this film. And yet somehow, her character Jane’s presence is felt deeply throughout. It is said Kinski wrote a diary for Jane, and it shows how deep into this character she got as her first appearance shows us someone who has lived a long beyond her years, and she was still quite young when “Paris, Texas” was filmed. Watching her react to what Stanton is telling her proved to be utterly enthralling as I wanted Jane to realize something which was right in front of her, and it makes Kinski’s performance all the more inspired.

Now on one hand, I am tempted to say how shameful it is that I did not watch “Paris, Texas” years ago. By that, I do not mean when it came out in 1984 as I was only nine years old back then and not about to take in the impact the Ronald Reagan Presidential years had on the world at large. I am thinking more of when I was in college and watching “A Clockwork Orange,” “Full Metal Jacket,” “Apocalypse Now” and “Taxi Driver” which took my moviegoing to a whole other enthralling level. “Paris, Texas” is a motion picture that does not play by any cinematic rules as it keeps you waiting and longing for certain things to happen, and in a good way. It also dares to leave story threads hanging in an ambiguous fashion which, while some will feel frustrated by this, will make the more adventurous viewers think deeply about what they just saw.

As for myself, I have a lot of Wim Wenders films to catch up on like “Wings of Desire,” “Pina,” “Buena Vista Social Club” and “Until the End of the World.” For what it is worth, I have seen the American remake of “Wings of Desire” which is called “City of Angels,” and it came out in 1998 and starred Nicolas Cage and Meg Ryan. That remake broke my heart, and it makes me wonder if the original will do the same. Perhaps I am afraid to find out.

* * * * out of * * * *

‘Ted’ Remains One of the Funniest Comedies Ever

Posted on by The Ultimate Rabbit

Man, I would have loved it if this had happened to me as a kid; having one of my stuffed animals come to life and me forming a lifelong friendship with it. That is what makes “Ted” one of the most enjoyable and funniest movies I saw back in 2012 as it makes that dream become a reality. Seth MacFarlane, the creator “Family Guy,” makes his live-action motion picture directorial debut here, and it is one of the few comedies which is not hit and miss as the laughs just keep on coming. “Ted” also balances out its wickedly crude humor with a lot of heart as the movie comes to look at how important friendships can be in life no matter what form they take.

At the movie’s start, we meet young John Bennett (Bretton Manley) who lives with his family in a town near Boston. The narration, delivered in brilliant fashion by Patrick Stewart, goes over how John has no friends and that even the Jewish kid in the neighborhood who keeps getting the crap kicked out of him by bullies wants nothing to do with him. Things change for the better when he receives a teddy bear for Christmas, whom he names Ted. John loves Ted so much to where he makes a wish for the bear to come alive, and I am sure you know what happens from there.

“Ted” doesn’t take long to get the comedy juices rolling as John’s parents (Alex Borstein and the hilarious Ralph Garman) are incredibly shocked to see their son’s teddy bear walking and talking on its own. After that, Ted becomes a celebrity of sorts as he has Johnny Carson in hysterics and ends up getting arrested at the airport for drug possession. Throughout all of this, he and John remain the best of friends through all things and share many common interests including a serious fear of thunder.

Moving forward to the present, John is now played by Mark Wahlberg and works at a car rental agency. He and Ted still enjoy hanging out together while getting high and doing stupid things when left to their own devices. At the same time, John has been in a long-term relationship with the beautiful Lori Collins (Mila Kunis), and she ends up giving John an ultimatum to get Ted to move out of their apartment so they can move on with their lives.

The fact is Ted has become incredibly obnoxious, unthinkably vulgar, and gleefully hedonistic; something which does not stop once he is finally forced to move out and get his own apartment. He even finds a job at a supermarket despite being grossly inappropriate during an interview with the manager. Instead of giving the manager a reason not to hire him, Ted impresses him with his behavior. Either that or he is just desperate for any employee he can get to work for minimum wage.

During this time, Ted still manages to get John to hang out with him, and this results in John having to lie to Lori while making ridiculous excuses to get out of work. One night with Ted which John cannot possibly turn down is when Sam J. Jones, the star of their favorite movie “Flash Gordon,” shows up for a party at Ted’s apartment. You have to give Jones a lot of credit for sending himself up and having a good sense of humor about the popularity of the 1980 camp classic as he portrays himself as a hard living actor looking for a comeback. Even Ted cannot help but remind John about how Jones’ performance in “Flash Gordon” ended up redefining what it means to act in a movie (and not necessarily in a good way).

Truth be told, “Ted” could have just worked with its crude yet irresistible humor as it scores one big laugh after another. But its main success is how it also combines that crude humor with a lot of heart. The movie is really about the power of friendships and the struggle to keep them going when other things get in the way. As crazy as Ted gets, be it humping a checkout scanner or even snorting cocaine, even he comes to see he has to change his ways just like John has to in his own way. But whatever you do, do not get Ted started on Teddy Ruxpin, seriously!

I have never watched “Family Guy” on a regular basis, so I cannot compare “Ted” to it. Regardless, this film does show him to have a great sense of humor as well as a good appreciation for the stranger parts of popular culture. It is also a must for fans of “Flash Gordon” as it pays homage to its so bad it is good qualities. MacFarlane also throws in jabs at other pop culture targets like Taylor Lautner, Justin Bieber, and even Brandon Routh whose performance in “Superman Returns” is not exactly respected here.

Wahlberg is utterly hilarious, but this should be no surprise to anyone who saw him share the screen with Will Ferrell in “The Other Guys.” The scene where he lists off “white trash girls names” in rapid fire succession is a comic highlight, but even that gets outdone by the vicious fight scene he and Ted have. For a moment I thought Ted would descend into Chucky (the doll from the “Child’s Play” movies) territory, but even he doesn’t get that crude. Still, it results in some of the biggest laughs I have ever had in a movie theater.

Mila Kunis remains as engaging as ever, playing the same wonderful type of character she played in “Forgetting Sarah Marshall.” Having her in this movie as Lori makes John’s need to get rid of Ted seem like a real no-brainer. Kunis also gets to play Lori as someone not bound by typical clichés, and she ends up making Lori the most intelligent person in the entire movie as a result.

There is also Giovanni Ribisi showing up as crazed stalker Donny who wants to buy Ted from John so he can give the teddy bear to his son Robert (Aedin Mincks). Donny cannot bring himself to say no to anything his son wants (bad parent alert!), and this includes giving Robert a toy he may very well end up destroying. Granted, Ribisi’s role in “Ted” might seem unnecessary as it adds something the plot does not necessarily need, but it’s worth it just so we can watch his truly creepy dance to Tiffany’s “I Think We’re Alone Now.”

The design of Ted is that of a generic teddy bear, the kind you end up adding your own personality to. It was smart to go with this kind of bear instead of with some iconic stuffed animal with a built-in personality. You never quite know what is going to come out of Ted’s mouth next. While it may seem somewhat unrealistic for any teddy bear or stuffed animal to be having this much fun, women of any age are quick to hug one quicker than men nearby. This is the story of my life these days, dammit.

Seriously, “Ted” was one of the best comedies I ever got to watch in a theater. Now a lot of this has to do with my continued affection for stuffed animals after all these years, but it also proved to be one of those comedies which was not hit and miss like many I see. It speaks to those special memories we had with our stuffed animals growing up, and of how they eventually bec0me as crazy as us.

* * * * out of * * * *

No, I Haven’t Seen It Until Now: ‘Cannonball Run II’

Posted on by The Ultimate Rabbit

Copyright HAG ?2008

I remember almost renting “Cannonball Run II” on VHS from Nino’s TV and Video in Thousand Oaks when I was a kid. I enjoyed the first “Cannonball Run” movie a lot and watched it many times, and these days I rate it as an Ultimate Rabbit guilty pleasure. But when I presented it to my dad as the movie I wanted to rent for the weekend, he looked at me and said, “Are you sure you want to rent this? It’s really awful.” This shook my courage in renting movies for a time as I began to doubt my taste in film. As a result, I put this one back on the shelf even though its poster looked ever so cool.

Well, while my dad’s pleas failed to keep me from renting the Clint Eastwood comedy “Every Which Way But Loose,” it did keep me from checking out “Cannonball Run II” for many years. But at a time when I should have been watching such films as “Tar,” “The Banshees of Inisherin” and “Black Panther: Wakanda Forever,” I found myself watching this 1984 sequel as it was available to view for free on You Tube (with ads of course). And though I was not expecting a good movie in the slightest, I was stunned at just how amazingly atrocious this follow up was as everyone involved cannot even bother to give the proceedings a mere 50% of their energies.

This sequel starts off with the Sheik Abdul ben Falafel (Jamie Farr) being berated by his father (played by Ricardo Montalban) for losing the Cannonball Run race last year. Having embarrassed the Falafel family (you read that family name correctly), Abdul’s father orders him to win another Cannonball Run in order to restore the family name. The problem is, there is no Cannonball Run race happening that year, so Abdul is told to buy one, and the grand prize is a million dollars.

From there, “Cannonball Run II” begins its arduous task of reintroducing characters from the original as well as introducing a whole bunch of new ones who could only dream of being as funny as Roger Moore was when he played  Seymour Goldfarb, Jr. In fact, Hal Needham, who returns to direct this misbegotten sequel, spends more time with these characters than he does with the race itself.

Burt Reynolds is back as J.J. McClure, and he looks like he can save this motion picture with his charisma and sexy mustache. Dom DeLuise also returns as J.J.’s partner Victor Prinzi and his alter ego of Captain Chaos. These two always look to be having the time of their lives when they work together, but the fun they have does not translate over to the audience as it did for me in the original. This is especially the case when you watch the outtakes which play over the end credits, and you wonder what made the cast enjoy themselves endlessly as their laughter speaks more of a desperation to make this sequel worth watching.

When it comes to racing partnerships, there are a few changes. Jackie Chan is joined this time in his Mitsubishi car by Richard Kiel who plays his driver, Arnold. Doctor Nikolas Van Helsing (Jack Elam), J.J. and Victor’s partner in crime previously, is now working with Sheik Abdul to keep his ulcer in check. And Susan Anton and Catherine Bach are here to replace Tara Buckman and Adrienne Barbeau as those sexy women behind the wheel of a Lamborghini. Still, as Snake Plissken kept saying in “Escape From L.A.,” the more things change, the more they stay the same.

In directing “Cannonball Run II,” I had to wonder what was going through Needham’s mind. Was he just telling a cast which included Shirley McClaine, Dean Martin, Marilu Henner, Sammy Davis Jr., and Tony Danza among others to just go out there and be funny? If so, it did not work to anyone’s advantage as everyone looks to be either phoning it in or trying way too hard to put a smile on our faces. And if you thought the stunts from the original were lacking, the ones here are generic and pedestrian at best.

The only decently funny moment for me was at the beginning with Ricardo Montalban who plays his role as if he is not in on the joke in the slightest. Heck, he even makes the word falafel sound vaguely amusing in a way Bill O’Reilly only thinks he can. Perhaps if the rest of the cast had followed suit, this sequel might have been slightly better than it ever could have hoped to be.

I also keep thinking Needham and company kept looking at this sequel and its making to where he believed he could solve anything and everything in post. There’s a subplot involving mobsters which goes nowhere and has actors like Abe Vigoda being cast just for old time’s sake. And, yes, there is an orangutan driving a car, but he can only hope to be as memorable as Clyde was in “Every Which Way But Loose.”

So much time is spent on such overly broad character moments that Needham and his collaborators kept forgetting there was a long-distance race involved in this movie’s plot. As a result, they brought in Ralph Bakshi to animate the race’s climax in order to give it some momentum, but it doesn’t do much to speed things up, especially after a cameo with Frank Sinatra who plays himself. And yes, it is ever so easy to tell that Sinatra filmed his scenes in a studio by his lonesome. Not once do we see him and actors Reynolds, DeLuise and others in the same scene together.

“Cannonball Run II” will at best be remembered as a footnote in history for the following reasons: it marked Frank Sinatra’s final role in a theatrical motion picture, it is the final action stunt comedy for Reynolds following such films as “Smokey and the Bandit” and “Hooper” among others, it was the last film for Dean Martin, Molly Picon and Jim Nabors who is essentially parodying his character of Gomer Pyle. Other than that, this one is a certifiable waste of 108 minutes out of your life.

What is my excuse for wasting my precious time with “Cannonball Run II?” I will treat that as a rhetorical question. Still, its poster does looks really cool.

½* out of * * * *