Kirk Douglas Looks Back at ‘Lonely Are The Brave’

Posted on by The Ultimate Rabbit

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The Ultimate Rabbit would like to wish Kirk Douglas a very happy 100th birthday. It is an age few people ever reach, and this is a man who has survived so much in his lifetime: Hollywood, anti-Semitism, a stroke, a helicopter crash and, tragically, the loss of a son. Still, Douglas persevered in spite of many obstacles thrown in his path, and in his 90’s he continued to work as an actor and a writer. The man who was Spartacus has reached a milestone which needs to be celebrated, but it should be no surprise he has lasted as long as he has. Happy Birthday Kirk!

The following article is of an appearance he made in Hollywood a few years ago in which he talked about one of his most enduring motion pictures.

“The best actors disappear into their roles, but icons always keep part of themselves onscreen. Every one of his characters makes hard choices as a figure of integrity. Not always a good guy, not always a bad guy, but a real guy.”

Those were the words writer Geoff Boucher used to introduce legendary actor Kirk Douglas who made a special appearance at the Egyptian Theatre on September 19, 2012. American Cinematheque was screening “Lonely are the Brave” in honor of the movie’s 50th anniversary, and Douglas was greeted with a thunderous and deserved standing ovation. Douglas thanked the audience for coming to see this movie which he made fifty years ago. He also added, “Don’t ask for your money back!”

Boucher pointed out how Douglas has made so many great movies, but this one in particular really stands out. In the movie, Douglas portrays John W. “Jack” Burns, a cowboy from the Old West who refuses to become a part of modern society. “Lonely are the Brave” is based on the book “The Brave Cowboy” written by Edward Abbey, and Douglas recalled being so intrigued by the character and his horse (Whiskey) and how the book spoke strongly about the difficulty of being an individual today. Douglas did, however, say his major problem was by the end of the movie the audience was “rooting for the horse instead of me!”

There was also talk about Dalton Trumbo who wrote the screenplay for “Lonely are the Brave” and whom Douglas had previously worked with on “Spartacus.” Trumbo was one of the Hollywood Ten who refused to answer questions from the House Committee on Un-American Activities regarding their alleged involvement with the Communist Party, and he ended up spending 11 months in prison for contempt as a result. It was Douglas who helped Trumbo get a screenwriting credit on “Spartacus,” and he said he hated the injustice of what Trumbo was put through. Douglas’ latest book “I am Spartacus! Making a Film, Breaking the Blacklist” deals with this extensively.

Douglas made it clear how after reading Abbey’s book, he felt there was no one who could do a better job of adapting it than Trumbo, and it is said he found Trumbo’s screenplay for “Lonely are the Brave” to be perfect to where he didn’t change a single word of it.

Boucher also brought up that Douglas had some problems with “Lonely are the Brave” when it came out, and this was especially the case with the movie’s title:

“The book was called ‘The Brave Cowboy’ and I didn’t want that title,” Douglas said. “I wanted to call it ‘The Last Cowboy,’ but the studio which had the money insisted on ‘Lonely are the Brave.’ And I said, what the hell does that mean?”

Douglas has more than earned his status as an acting legend in Hollywood. Old age has not slowed him down one bit as he just finished a one-man show, released a new book, and took the time to appear at the Egyptian Theatre to talk about “Lonely are the Brave” which really is one of his very best movies. He finished his talk that evening by expressing his respect for actors who help other people, and of how he finds it sad that the media prefers instead to concentrate on the more “racy” things they do.

Boucher remarked at the amazing journey that Douglas has made from being “The Ragman’s Son” to going to all the places he has been and of having worked with all the great people he has worked with, and he commended the actor’s career for being guided not just by talent but integrity. That sentiment was shared by everyone in the audience in attendance as we were all very happy to see Douglas there, and he told them he was “glad and happy” they all came to see him and “Lonely are the Brave” which came out fifty years ago.

Interview with Harry Benson and Matthew Miele on ‘Harry Benson: Shoot First’

Posted on by The Ultimate Rabbit

The documentary “Harry Benson: Shoot First,” directed by Matthew Miele and Justin Bare, looks at the life and work of renowned photographer Harry Benson who shot and captured unforgettable images of many famous figures such as The Beatles, Michael Jackson, Muhammad Ali, Donald Trump, and Hillary and Bill Clinton. What is especially striking about his photography is how wonderfully intimate and vivid his photos are. These are not just still images made to promote a new project of some kind, but instead are ones which show celebrities at their most natural and down to earth. Looking at Benson’s photographs today, it feels like you are going back in time and arriving at a place which feels so incredibly real.

I had the opportunity, along with Rama Tampubolon of the website Rama’s Screen, to talk with Benson and Miele about how this documentary came about and how it evolved from start to finish. Benson also told us stories of how he got the photo of Paul McCartney, John Lennon, George Harrison and Ringo Starr who were in the midst of a pillow fight, and of the haunting images he captured of Robert Kennedy before and after he was assassinated.

“Harry Benson: Shoot First” is another terrific documentary in a year filled with them, and it is a must see for pop culture fans and anyone interested in photography. It opens on December 9 at the Laemmle’s Monica Film Center in Santa Monica, and it is also available to watch on Amazon Video, VOD and iTunes.

Please check out the interview above, and be sure to watch the documentary’s trailer below.

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The Fourth Noble Truth

Posted on by The Ultimate Rabbit

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Watching “The Fourth Noble Truth” quickly reminded me of how much I personally benefit from doing meditation, and of how I need to get back into the habit of doing it on a regular basis. It’s very beneficial as it allows your brain to have a rest from all the thoughts and concerns which constantly run through it, and it helped me during a time where I suffered deeply from anxiety and depression. Gary T. McDonald’s film explores meditation from a Buddhist perspective as two people come together while searching for true happiness, and the end result feels emotionally honest about a topic some would be loath to take seriously.

Before we get to the movie’s opening title, we are introduced to movie star Aaron Redmond (Harry Hamlin) who does a Jack Nicholson and bashes another person’s car with a golf club. This is all it takes for the audience to see that this guy has serious anger management issues, and the movie wastes little time in showing him driving out to the home of a Buddhist meditation teacher named Rachel (the lovely Kristen Kerr) as it is part of his sentence for being convicted of road rage.

The way Aaron sees it, he has everything a person could ever want, so how can he be the least bit unhappy? Rachel, however, is not impressed with his bad boy movie star persona and sets about teaching him each of the noble truths while guiding him through meditations. However, his constant flirtations end up getting the best of her, and they end up spending the night together. From there they are both forced to reassess their life choices or risk losing the love and happiness they strive for.

In case you are wondering what the four noble truths are, they express the basic orientation of Buddhism which says this worldly existence is fundamentally unsatisfactory, but there is a path to liberation from repeated worldly existence. The truths are as follows:

Life is full of psychic suffering, such as stress, angst, discontent, and unhappiness.

The cause of this suffering is desire. Not the fleeting kind, but a clinging or attachment for things like material possessions, people, and validation.

If you end these fixations, you will stop suffering.

You end suffering by walking the Eightfold Path, which is a way of life embodying these virtues:

Right Understanding

Right Intention

Right Speech

Right Action

Right Livelihood

Right Effort

Right Mindfulness

Right Concentration

The Buddha taught that developing the virtues of the fourth noble truth is the key to happiness. Of course, getting to the last truth is always the hard part.

I liked how Hamlin’s character evolves throughout the film. His skepticism over meditation is understandable as most people, including myself, come into it with a lot of doubt over if it will do them any good. Also, getting the handle of meditation takes some time because you are bound to start off feeling like you’re not doing it right. His character of Aaron refuses to take meditation seriously at first, and he is mostly interested in getting the judge in his case off his back more than anything else. But while he appears to be confident in being the man he is, we can see from the start he is one seriously unhappy dude.

Hamlin has been around for a long time, and my generation knows him best for his roles in “Clash of the Titans” (the original, not the remake) and the TV show “LA Law.” These days he is better known for his work on the shows “Mad Men,” “Glee,” and “Shameless.” At 63, he still has an effortless charisma about him which makes him perfect for this role of an over the hill celebrity who has yet to realize material possessions do not equal happiness.

I’m not familiar with Kristen Kerr’s work, but she left quite the impression on me as Rachel. When we first meet her, she appears to be a master in the ways of meditation and has reached a great place in her life where everything seems balanced. But as the movie goes on, she comes to see how uncertain she is of whether or not she has reached the fourth noble truth as she makes the biggest mistake a meditation teacher can make.

It should go without saying how nobody is perfect, but this threatens to do a disservice to Rachel as she quickly realizes the errors of her ways. Kerr makes Rachel a fascinating character as a result because we really root for her to hold onto her bearings and not give up on her pursuit to achieve happiness. It’s never an easy road as life is full of endless trials and tribulations, and we come out of this movie relieved Rachel has not lost her way. Kerr is a wonderfully appealing presence from start to finish, and she makes us believe in the benefits of meditation in a way few other actors could.

McDonald’s previous directorial credits include “The Sea Wolf” and the documentary “Rape/Crisis,” movies I have yet to see. He does a commendable job of taking this relationship story and makes it feel down to earth and not the least bit contrived. When Aaron and Rachel fall for one another, I thought the movie was going to shoot itself in the foot and lose all credibility, but their relationship serves to give “The Fourth Noble Truth” more complex issues to explore. What I admired most was how the movie explored meditation and the relationship issues these two characters experience to where it feels emotionally honest in a very satisfying way.

In some ways, “The Fourth Noble Truth” is somewhat undone by its understandably low budget, and I hate to say that because movies like these are forced to deal with whatever resources they can get a hold of. I could see this script being done as a play onstage, so it doesn’t feel as cinematic as a movie should. But despite its flaws, it serves as a nice introduction to what meditation can do for your own well-being. It’s not meant to be an instructional manual on meditation, but if it were then it wouldn’t be as effective.

“The Fourth Noble Truth” is coming in well below the radar amidst all the big blockbusters which threaten to occupy our local multiplexes at the expense of everything else. My hope is more people get exposed to it on the big screen long before it becomes available on DVD, Blu-ray and Digital.

* * * out of * * * *

 

 

Lincoln

Posted on by The Ultimate Rabbit

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The one thing which always drove me nuts in history class as a kid was how the teachers and the books we read made the past seem so much better than our present. We were taught about how Presidents like George Washington and Abraham Lincoln were such great leaders who helped make America the country it is today, and in the process, they were turned into mythological characters to where we forgot they were human beings like the rest of us. Juxtaposing this with the politics of America back when Ronald Reagan was President, it looked like we could do nothing but complain about the state of the world. It made me wonder what we did as Americans which made us seem so ungrateful for what our forefathers brought about.

This is why I’m thankful for movies like Steven Spielberg’s “Lincoln” which helps to humanize those historical figures we learned about in class. In this case, the historical figure is Abraham Lincoln, the 16th President of the United States. The film focuses on the last four months of his Presidency when the Civil War was raging on and was insistent on getting the Thirteenth Amendment, which abolished slavery, passed in the House of Representatives. It presents this President, one of the greatest America has ever known, as a flesh and blood human being endowed with strengths and flaws which will make you admire him more than ever before.

Much of the accomplishment in making President Lincoln so vividly human here is the result of another unsurprisingly brilliant performance from the great Daniel Day Lewis. Known for his intense method acting and laser sharp focus in preparing for each role he does, he brings his own touches to a man so defined by his historical deeds, and he succeeds in making this character his own during the movie’s two and a half hour running time.

“Lincoln” also shows how the world of politics has always been a cutthroat place to be in. The Republican and Democratic parties were much different than from what they are today, but during the 1800’s getting certain amendments passed involved a lot of tricks which were not always highly regarded. Even Lincoln wasn’t above hiring three politicians, played by Tim Blake Nelson, John Hawkes and James Spader, to lobby members of the House to vote in favor of passing the Thirteenth Amendment. But what made this President’s actions especially courageous was how he wasn’t just thinking about solving the country’s problems but of the effects this particular amendment would have on generations to come.

“Lincoln” also delves into the President’s personal life which had been fractured by the loss of a child and was also unsteady due to the fiery personality of his wife Mary, played by Sally Field. Watching Field here reminds us of what a remarkable actress she remains after all these years. Field is such a live wire as she struggles to make her husband see the consequences of the actions he is about to take. The actress had signed on to play this role years ago, back when Liam Neeson was set to play Lincoln, and she had to fight to keep it. It’s a good thing Spielberg kept her around because she has always been a tremendous acting talent, and she enthralls us in every scene she appears in.

Like many of Spielberg’s best films, there isn’t a single weak performance to be found in “Lincoln” which boasts quite the cast. Joseph Gordon-Levitt, who had a heck of a year in 2012 with “The Dark Knight Rises,” “Looper” and “Premium Rush,” is excellent as Lincoln’s oldest son, Robert, who considers quitting school to join the army and fight for his country. David Strathairn is a wonderfully strong presence as Secretary of State William Seward, the great Hal Holbrook is unforgettable as the influential politician Francis Preston Blair, Gloria Reuben is very moving in her performance as former slave Elizabeth Keckley, and Jackie Earle Haley has some strong moments as the Confederate States Vice President Alexander H. Stephens.

But the one great performance which needs to be singled out in “Lincoln,” other than the ones given by Lewis or Field, is Tommy Lee Jones’ who portrays the Radical Republican Congressional leader Thaddeus Stevens. Jones is a powerhouse throughout as he empowers this fervent abolitionist with a passion as undeniable as it is undying, and seeing him reduce other congressional members to jelly is a thrill to witness. Jones is tremendous as we see him fight for what he feels is right regardless of how he goes about achieving it.

Spielberg employs his usual band of collaborators here like producer Kathleen Kennedy, director of photography Janusz Kamiński, editor Michael Kahn and composer John Williams to create a movie which captures the importance of Lincoln’s place in history while also making it intimate in a way we don’t expect it to be. He also benefits from having the great playwright Tony Kushner on board as the movie’s screenwriter. Kushner’s knowledge of history has never been in doubt ever since we witnessed his magnum opus of “Angels in America,” and word is he spent six years working on the script for “Lincoln.” His efforts do show as he gives us a riveting portrait of a divided nation on the verge of making a major change, and even back then America was resistant and deeply frightened to making certain changes regardless of whether or not it would benefit from them.

Granted, Lincoln’s life would probably be better explored in a miniseries as there is so much to explore, and this movie can explore only so much of it. Regardless, “Lincoln” is an invigorating portrait of a great American President who fought for the benefit of his country’s future. The sacrifices he made tragically cut his life short, but his legacy will never ever die as Spielberg’s film rightly proves.

* * * * out of * * * *

Black Sea

Posted on by The Ultimate Rabbit

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When it comes to submarine movies, I feel the genre peaked early on with Wolfgang Petersen’s “Das Boot” which proved to be as claustrophobic as movies get. Others have come close to equaling its visceral power, but there’s no topping it. I went into “Black Sea” knowing this would be the case, and that helped a lot because this movie proved to be a lot more intense and nail-biting than I expected it to be. It doesn’t break any new ground, but it is a gritty thriller which doesn’t let up.

Jude Law stars as submarine Captain Robinson who, as the movie starts, has been laid off from his salvage job which leaves him with few prospects for future employment. It turns out he’s not the only one as his friends and colleagues have been kicked out of their jobs as well, and it serves as an annoying reminder of how companies spend more time firing employees than they do hiring them.

But Robinson soon gets offered a job by a shadowy backer who tells him about a World War II submarine that has sunk to the bottom of the sea and which contains an enormous wealth of gold. Seeing how it offers him and his colleagues more than enough to quit any day job they can hope to get, he commandeers an old and fairly decrepit submarine from the Cold War days to get at the gold hidden miles below the surface. But in addition to avoiding detection from the Soviets as he travels below their radar, he has to contend with the fragile relations between the crew members as they come from different places and don’t have enough trust in each other to make this mission run smoothly.

What makes “Black Sea” an especially effective thriller is that the depths of the ocean prove to be every bit as threatening as the twisted psychology of the submarine’s passengers. Everyone on board has their own selfish motives, and those motives have to contend with the dangers they have to endure on a ship way past its prime. It doesn’t take long before you start to wonder what’s going to kill these men first; the crushing depths or their own paranoia.

“Black Sea” was directed by Kevin Macdonald, a filmmaker who has gone from making documentaries like “Touching the Void” and “Marley” to unforgettable dramas like “The Last King of Scotland” and 2013’s underrated “How I Live Now.” He doesn’t have much to work with in terms of originality, but he makes effective use of the claustrophobic setting to where our nerves are effectively fried throughout. Macdonald also gives equal attention to the human element as the characters drive the action more than you might think. Even though some of the characters’ decisions become rather silly towards the end, he makes you empathize with them to a certain extent. These days, who can’t relate to being laid off or jumping at the opportunity to make a fortune? People will do anything to survive these days.

It’s interesting to see Jude Law in a role like this where he portrays a hard scrabble worker who looks like he needs a good long shower on a regular basis. I’ve gotten so used to seeing him as this handsome man onscreen to where it threatened to make me forget what a great actor he is. While his Scottish brogue gets a little too thick at times, he fully inhabits his role of a man who is more in love with the sea than he is with his own family. Law is also surrounded by a terrific cast which includes Ben Mendelsohn (terrific in the criminally overlooked “Starred Up”), Scoot McNairy, David Threlfall and Konstantin Khabensky who each imbue their roles with a lot of grit and desperation. It helps to have actors this good in a movie which on the surface might seem run of the mill.

At this point, I don’t think it’s even possible to reinvent the submarine movie genre. Where else can you go with it after movies like “Das Boot,” “The Hunt for Red October” and “Beneath” to name a few? All you can hope for is that it can be done well and keep you on the edge of your seat, and “Black Sea” manages to do that more than you might expect. Sometimes that’s all you need a movie to do.

* * * out of * * * *

Race

Posted on by The Ultimate Rabbit

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2015 was a year where the biopic genre had a major resurgence with movies like “Straight Outta Compton” and “Love & Mercy.” Most biopics in recent years have been strictly by-the-numbers affairs which give us historical footnotes without going into much depth about the people they are about, but those two movies brought their subjects to life in a most wonderfully vivid way. “Race,” the biopic about gold medalist Jesse Owens which should have made years ago, will not rank among the best of the genre and starts off as a by-the-numbers affair, but it does get better as it goes along as we watch this iconic African American athlete get ready for the Olympics.

Instead of looking at Owens’ whole life, “Race” focuses on the years he went to college and began training with Coach Larry Snyder (Jason Sudeikis) who molds his running talent into something even better. Despite the adversity he and other African Americans face on the university campus, Owens soon becomes a star athlete and gets selected to compete in the Olympic Games. But these are the 1936 Olympics held in Berlin which was under the grip of Adolf Hitler’s Aryan supremacy. On top of dealing with racism in America, Owens also has to deal with a dictator who will not be quick to celebrate any victory he could possibly achieve.

“Race” gets off to a rocky start as it gives us snapshots of Owens’ life without much in the way of introspection. We briefly see the troubled relationship between him and his father in a wordless scene, but it’s never clear why these two aren’t getting along. To its credit, it doesn’t gloss over Owens’ affair which almost destroyed his relationship with his girlfriend and daughter, and it makes for some strong scenes as he desperately tries to win her back.

The movie, however, does get better when we watch Owens finding success, and there is a subplot involving Avery Brundage (Jeremy Irons) and Jeremiah Mahoney (William Hurt) who battle over whether or not America should even participate in these Olympic Games. We also get to see Carice van Houten as Leni Riefenstahl, the German filmmaker whose life could easily inspire a fascinating biopic on its own. Indeed, the politics behind these games help to make “Race” more riveting as it makes us see just how high the stakes were for everyone involved. Had it just focused on Owens, it would have been anti-climactic as we know how successful he would be at those Olympic Games.

“Race” was directed by Stephen Hopkins whose resume is all over the map as he has gone from making “A Nightmare on Elm Street 5: The Dream Child” and “Predator 2” to helming episodes of “24” and the acclaimed HBO movie “The Life and Death of Peter Sellers.” He does give the movie an amazing scene in which Owens enters the Berlin Stadium, and he puts us right into the man’s shoes as he works to tune out all the other voices yelling at him. Some biopics keep you at arm’s length away from their main subject, but this one makes you feel what it’s like to be Owens as Hopkins surrounds him with his camera to where we quickly come to understand what it’s like to be Owens at this moment. The weight of the world is on his shoulders, and he manages to not let this affect him as he makes his way to the starting line.

Playing Owens is Stephan James who played civil rights activist John Lewis in “Selma,” and he has been given the daunting task of humanizing such an iconic human being. But he succeeds as he gives us an Owens full of strengths and flaws like anyone else, and he never succumbs to portraying this gold medalist as some sort of superhuman. Had James done that, this movie could have easily fallen apart.

But the performance in “Race” I was most impressed with was Jason Sudeikis’ as Coach Larry Snyder. Sudeikis is best known for his time on “Saturday Night Live,” but the fact that he pulls off a first-rate dramatic performance here did not surprise me. Any actor or actress who can do comedy can certainly do drama as making people cry is a lot easier than making people laugh, but Sudeikis ends up giving this movie its most complex character. Snyder comes across as a hard ass when it comes to coaching his runners, but we come to see what fuels his commitment to them and of the things he was unable to accomplish as a runner himself. Sudeikis also has a great scene where he shows Owens and his team how successfully one can shout out opposing voices yelling at him in the background. He sells this scene for all it’s worth, and it makes me look forward to whatever this former “SNL” star decides to take on next.

“Race” is not going to go down as one of the best biopics ever made, but it is a compelling one all the same. While it does fall victim to reducing its subject’s life down to mere footnotes at the movie’s start, it does improve as we learn more about Owens and of the obstacles placed in his path when he decides to participate in the Olympic Games. In many ways, we should be thankful any biopic about Jesse Owens finally made it to the big screen as this movie should have been made years ago. Could it have been a better movie? Sure, but this one will do for now.

* * * out of * * * *

 

Knight of Cups

Posted on by The Ultimate Rabbit

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Ever since he ended his decades-long hiatus with “The Thin Red Line,” Terrence Malick has been very prolific as he keeps putting out one beautifully poetic film after another. He also remains a filmmaker people either love or hate as his work leaves audiences deeply polarized. His seventh film, “Knight of Cups,” is unlikely to change the perceptions people have of him, but those who admire him will find much to take in. It’s also a film which has what many of Malick’s films lack: a straightforward narrative.

“Knight of Cups” takes its name from the tarot card which, when held upright, represents change and new excitements especially of a romantic nature, and it can mean opportunities and offers. When the card is reversed, however, it represents unreliability and recklessness and indicates false promises. But moreover, the Knight of Cups is a person who is a bringer of ideas, opportunities, and offers, and who is constantly bored and in need of stimulation. This person is intelligent and full of high principles, but he is also a dreamer who can be easily persuaded or discouraged.

The knight of Malick’s film is Rick, a Hollywood screenwriter played by Christian Bale. When we first meet Rick, he looks to be living the high life as he attends parties in Los Angeles which look as decadent as they come, but while he looks to be enjoying himself, those famous Malick voiceovers reveal him to be a lost soul who finds he is not living the life he was meant to. From there he goes on a journey to find an escape from the emptiness he feels and discover more about himself.

The film is divided into chapters named after tarot cards as Rick engages in relationships with different women as he searches for love and a sense of self. We also get to see the troubled relationships he has with his father Joseph (Brian Dennehy) who looks to have been driven insane by the hardships of life, and his brother Barry (Wes Bentley) whose life had been derailed by a drug addiction he has since gotten clean from. Throughout we get the usual Malick-isms of voiceovers, characters staring out into space and wanting to speak truthfully to those closest to them, and it’s all captured with a poetic beauty which continues to make Malick one of the more unique filmmakers working today.

Malick has the good fortune of working with the brilliant cinematographer Emmanuel Lubezki who just won his third Oscar in a row for “The Revenant,” and Lubezki captures the decadent landscapes of Los Angeles and Las Vegas with an inescapable beauty they don’t always have in reality. But he and Malick also capture the banality of them which quickly infects Rick’s soul, and the scenes where Bale is swimming in the violent ocean and wandering through a barren wilderness illustrates how inescapable his loneliness is.

It is said Malick shoots his films without a screenplay and instead gives the actors a storyline to improvise off of. This puts actors on an emotional tightrope which challenges them in ways they don’t often get challenged on, and the cast of “Knight of Cups” more than rises to the occasion. Bale is one of those actors who never backs down from any acting challenge given to him, and he gives yet another compelling performance in a career full of them. It’s also great to see Brian Dennehy here as this is the kind of film role we don’t always see him in, and it serves to remind us of how powerful an actor he can be when given the right role.

The movie also features a number of remarkable actresses playing the various lovers of Rick, and they all stand out in their own individual ways. Cate Blanchett, Australia’s answer to Meryl Streep, plays Rick’s physician ex-wife who still feels a connection to him even though she can’t quite get through to him. Imogen Poots rivets as the rebellious Della, Teresa Palmer makes Karen a most spirited and playful stripper who can seduce anyone with what seems like little trouble, and Frieda Pinto is the definition of serenity as Helen.

But one performance I was especially impressed with was Natalie Portman’s as Elizabeth, the woman Rick had wronged. After all these years, Portman remains a wonderfully vulnerable actress who is incapable of faking an emotion. She makes you feel the pain Elizabeth goes through, and you can’t take your eyes off of her for one second.

“Knight of Cups” proves to have a more straightforward narrative than Malick’s other films, and that’s saying something. His last film, “To the Wonder,” was good, but it meandered all over the place as he couldn’t decide which story was the more important one to tell. This time, however, he manages to stay with Rick and his romantic adventures for the majority of the film’s running time. It does veer off slightly when we get introduced to Antonio Banderas who plays the ironically named Tonio, a playboy who loves the company of more than just one woman. Considering Banderas’ recent stormy divorce from Melanie Griffith, his part in this film feels a bit voyeuristic as it seems like he is simply playing himself and explaining why his marriage to her fell apart.

“Knight of Cups” doesn’t reach the cinematic heights of “The Tree of Life” or “Days of Heaven,” but it is still a must for Malick’s fans as few other filmmakers can make a movie the way he can. Some will call it self-indulgent and complain it focuses on individuals who have it a lot better than the working class of America, but for those who relate to the journey Rick takes here, it is an immersive experience which leaves you guessing as to the possibilities open to him at the film’s conclusion.

It’s also worth watching to see characters drive their cars on the empty roads of Los Angeles at night. Anyone who lives in Los Angeles knows the roads are never that empty during the day, so it’s nice to know they are not always a traffic nightmare.

* * * ½ out of * * * *

‘Full Tilt Boogie,’ the ‘From Dusk Till Dawn’ Documentary, Screens at New Beverly Cinema

Posted on by The Ultimate Rabbit

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After a double feature of William Friedkin’s “To Live and Die in L.A.” and “Rampage,” which is not currently available on DVD, the audience members at New Beverly Cinema were in for a special midnight treat as the theater held a screening for the 20-year-old documentary “Full Tilt Boogie.” Directed by Sarah Kelly, it chronicles the making of Robert Rodriguez’s action horror cult classic “From Dusk till Dawn” which starred George Clooney and Quentin Tarantino as outlaw brothers who, along with a vacationing family, end up at a rowdy Mexican bar which turns out to be infested with vampires. The documentary introduces us to those people who worked behind the scenes on the movie, of why they want to be a part of show business, the fun they have when the cameras are not rolling, and of the complicated relationship between movie studios and unions.

Introducing this screening of “Full Tilt Boogie” was Kelly, and she was joined by her producer and friend Rana Joy Glickman. The emcee who welcomed them remarked about how cool it was this documentary was playing at the New Beverly and that it was sharing a marquee with Friedkin’s “Cruising.” To this, the emcee said about Kelly, “Whoa! She scored good!”

Kelly welcomed all the “insomniacs” who came out to see her documentary and explained how it became a reality.

“The reason this movie came about was that Robert Rodriguez and Quentin were about to start shooting ‘From Dusk till Dawn,’ and it was an $18-million-dollar independent movie and the unions were pissed,” Kelly said. “They were like, ‘What do you mean? No, you have to go union.’ And so, there was a big threat of a strike, and Quentin thought it would be cool to document it.”

“I had worked for him on a little movie called ‘Pulp Fiction’ and a couple of other movies he was involved with,” Kelly continued, “and he knew that I was studying to be a director so he gave me a shot. At the time, I was taking a break from production and I was working part-time in a law firm and I was like, ‘So is this for real? Should I quit my job?’ And he said, ‘Uh, quit your job yesterday.’ So, I did. We wrangled our little, tiny, hardcore crew and we started shooting, by the way, on 16mm film. Nobody shoots documentaries on 16mm film anymore, but we did. The union threat kind of turned into a cold war and I asked Quentin if we could keep shooting and just do a love letter to the crew. I pitched it as kind of like ‘Hearts of Darkness’ (Eleanor Coppola’s documentary on ‘Apocalypse Now’), but not that dark. Quentin said, ‘Yeah, that’s really fucking cool!’”

As for Glickman, she claimed to have hundreds of stories to tell about the documentary and “From Dusk till Dawn,” but she chose to tell only this one.

“When we finished ‘Full Tilt Boogie’ we were just so pleased that we finished and we got to make the posters for the film, not the one that Harvey Weinstein had selected,” Glickman said. “Our favorite poster is Sarah’s design, and it was Ken (Bondy), the craft service guy on ‘From Dusk till Dawn,’ standing there with a tray of lattes and it said, ‘From the maker of coffee on Pulp Fiction, we bring you Full Tilt Boogie.’”

Kelly responded, “That’s a great poster, right?”

“Full Tilt Boogie” may not be the masterpiece “Hearts of Darkness: A Filmmaker’s Apocalypse” is, but it’s still a very entertaining documentary which takes you behind the scenes of a movie’s production in a way few others do. We get to see the challenges crew members constantly face on a movie set, and we also get to take in the fun they have outside of it as well. For these people, this is a job done out of love and far more preferable than working a 9 to 5 job which has them sitting at a desk all day. Kelly certainly did create a love letter to these crew members, and we revel in the festivities they have from one day to the next.

Thanks to Sarah Kelly and Rana Joy Glickman for taking the time to come out, and at such a late hour, to talk about “Full Tilt Boogie” at New Beverly Cinema.

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Eye In The Sky

Posted on by The Ultimate Rabbit

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When it comes to drone warfare, it seems like such an easier way to fight an enemy without having to put “boots on the ground.” But like Snake Plissken said over and over in “Escape from L.A.,” the more things change, the more they stay the same. Just as in previous wars, there will always be much destruction and an inevitable number of civilian casualties. The question comes to this: is war worth it? Is it worth having all these civilian casualties while trying to take out the enemy? Now some might think these are easy questions to answer, but this is not the case at all, especially to those at the front line.

This is made clear in Gavin Hood’s intense thriller “Eye in the Sky.” It stars Helen Mirren as Colonel Katherine Powell who has been tracking a British citizen-turned-terrorist for six years and finally has her tracked down in Kenya. Thanks to local operative Jama Farah (“Captain Phillips’” Barkhad Abdi) and his nifty high-tech surveillance, she discovers this spy is quickly preparing along with others to carry out suicide attacks. As a result, what started as a mission of capture becomes a mission to kill terrorists, and Colonel Powell has drone pilot Steve Watts (Aaron Paul of “Breaking Bad”) target the safe house the terrorists are in and is prepared to take them out, but then a 9-year-old girl enters the kill zone to sell some loaves of bread, and she won’t leave until she sells them all. This quickly triggers an international dispute as the United States and British governments debate over whether or not to take action.

While most war movies enthrall viewers with bullets and bombs exploding constantly, “Eye in the Sky” leaves us in sweat-inducing suspense as we wonder if and when an explosion will go off at all. What’s great about Guy Hibbert’s screenplay is it never condescends to its characters or give us annoying ones who are out to make bone-headed decisions for their own benefit. Every reason each character gives for firing or not firing at the target makes perfect sense, and it adds to how difficult the question of attacking these terrorists with this little girl nearby is to answer. On one hand, stopping these terrorists will prevent the loss of many lives, but if the little girl is killed it will come back to aid the propaganda wars being fought against governments. Everyone is looking for a way to keep the blood off their hands, but no one gets off easy.

Watching this situation play out reminded me of a scene from “Blue Thunder.” This classic 1980’s movie is about a high-tech helicopter, and the characters see it do a demonstration of a strafing run where red dummies are terrorists and the white ones are civilians. In the course of shooting at the targets, all the red dummies are blown away as well as a few white ones. This leads the government official Fletcher to tell helicopter pilot Frank Murphy, “There’s one civilian dead for every ten terrorists. That’s an acceptable ratio.” To this Murphy replies, “Unless you’re one of the civilians.”

You almost want to laugh at the government officials who keep trying to contact their higher ups to get permission to obliterate the terrorists as it comes across as passing the buck. But whether or not there is an advantage to attacking or not attacking, there’s also how the rest of the population will interpret how their governments act. This is something governments can never fully control, and they are fully aware of the consequences of doing something and of doing nothing.

Gavin Hood has had a tough time in Hollywood ever since he won the Best Foreign Film Oscar for “Tsotsi.” His abduction thriller “Rendition” received a mixed reception, “X-Men Origins: Wolverine” proved to be a mess as it was undone by too much studio interference, and “Ender’s Game’s” chances of becoming a franchise of movies crashed as soon as it opened. But with “Eye in the Sky,” Hood is really in his element as he was once a soldier and has a clear understanding of the military’s responsibilities and the conflicts they endure. He’s also smart to not answer any of the questions the movie poses as he is not about to offer easy answers. Aside from the terrorists, there are no good or bad guys here, but instead, professionals trying to win a war against terrorism as well as the minds of the people.

Hood also shows how the drone pilots actually have it even harder than troops who see the action up close. They may be many miles away from their targets, but they can still see their targets up close and still have their finger on the trigger. At the movie’s press conference, Hood told reporters drone pilots have a higher rate of post-traumatic disorder than those troops who experienced armed combat up close. Having an actor like Aaron Paul playing the drone pilot gets this point across very well as we watch him suffer just as much as he did as Jesse Pinkman on “Breaking Bad.”

Mirren remains an impeccable actress, and she follows up her nasty turn as columnist Hedda Hopper in “Trumbo” with a much different character. Eager to stop another terrorist attack from happening, she undergoes tremendous stress while waiting for an answer from her commander. Mirren makes you feel her stress two-fold, and yet she never seems to break a sweat.

It’s also great to see Abdi here as he proves his Oscar-nominated performance in “Captain Phillips” was no fluke. His character is closest to the line of fire, and we watch as he does his best to do his work while under the prying eyes of fearsome soldiers. Abdi perfectly captures Jama’s desperation as he does what he can to save the little girl from a tragic fate, and he is riveting throughout.

The movie also contains the last onscreen performance from the late Alan Rickman who portrays Colonel Powell’s commanding officer, Lieutenant General Frank Benson. Rickman is as impeccable here as he has been in any other role he has played, and he will be deeply missed. He also has one of the movie’s most definitive lines which comes up towards the end, and he delivers it in a truly unforgettable way.

“Eye in the Sky” is one of those rare thrillers which thrills you just as much as it makes you think. The reality of drone warfare is hard to escape, and this is especially the case after watching this movie. As much as many of us want to leave life and death decisions up to others, Hood forces you to question what you would do in the same situation. You may not like the answers you come up with, but you can’t turn a blind eye to it forever.

By the way, in the case you were wondering, the Alan Parsons Project song of the same name is not featured in this movie. Bummer.

* * * ½ out of * * * *

Bad Santa 2

Posted on by The Ultimate Rabbit

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“Bad Santa 2” is the kind of sequel I thought it would be; one which repeats the story of the original. Granted, many sequels are like this, and some get away with it like “Beverly Hills Cop II,” “The Hangover Part II” and John Carpenter’s “Escape from L.A.” Clearly, this is a movie made for fans of 2003 original which has long since become a holiday and cult classic, and this sequel does contain a number of gut-busting laughs as the world’s worst mall Santa Claus ever, Willie Soke, gets himself involved in another heist. But in its second half, “Bad Santa 2” loses much of the energy it built up and begins to run on fumes as scenes quickly remind us of the original and how great it was.

It’s been 13 years since “Bad Santa” was unleashed in theaters everywhere, and the holdup was the result of Miramax being sold among other things. Billy Bob Thornton was eager to get a sequel off the ground, but because of various rights issues, it seemed impossible to start production on one for years. While it is a relief to see this sequel finally arrive at your local cinema, it’s being released at a time where a major Presidential candidate bragged on audio about grabbing women by “the pussy.” As a result, it’s hard to watch “Bad Santa 2” without thinking about that, so the bad timing of its release is unfortunate.

So, what has Willie been up to for 13 years? Well, he’s still the same old cynical lout whose heart is smaller than the Grinch’s, and he still drinks himself silly at any given opportunity. Sue (Lauren Graham from the original) has long since left him as Willie is incapable of hanging onto any nurturing relationships, but he still gets regular visits from Thurman “the kid” Merman (Brett Kelly) who still acts like an 8-year-old even at the age of 21. Willie is prepared to put himself out of his misery, but he is much better at cracking safes than at attempting suicide. One thing’s for sure, he’s got one hell of a liver.

Despite having tried to kill Willie previously, Marcus Skidmore (Tony Cox) still manages to convince him to pull off another heist which will be their biggest yet. Marcus wants to rip off a Chicago charity which is said to have $2 million dollars, but Willie is against robbing a charity because, you know, they never have that much money. But Willie’s in for a big surprise as he discovers Marcus has brought on another partner for this caper, his mother Sunny (Kathy Bates). The fact Willie is quick to punch her right in the face as soon as he recognizes her should give you a good idea of just how dysfunctional the mother/son relationship is between these two.

Thornton hasn’t lost a step since first playing Willie back in 2003, and he still knows how to give a deplorable character like this one a complexity other actors couldn’t. The actor can still land a joke like the best can, and just when you think Willie can’t reach an even deeper bottom than he already has, he does. But as irredeemable as Willie seems, Thornton still gives us a reason to root for him even as he is about to sin again.

“Bad Santa 2,” however, scores a real casting coup with the addition of Kathy Bates who shows no fear in making Sunny every bit as cynical as Willie. She relishes playing an unrepentant biker chick who throws caution to the wind just as one would flick away a cigarette to the ground, and she’s the kind of actress who’s game for just about anything and everything.

It’s also great to see Tony Cox back as Marcus, and that’s even though the logistics of Marcus working again with Willie are beyond belief. Then again, you don’t bring logic into a sequel like this. While Lauren Graham is missed, it’s crazy fun to watch “Mad Men’s” Christina Hendricks let it loose as a reformed alcoholic who still feels the need to be bad when the opportunity presents itself. As for Brett Kelly, he still gives this sequel the heart it needs as man-child Thurman Merman. You would think Thurman would have long since outgrown his attachment to Santa, but again, this is not the kind of sequel you bring logic to.

But as “Bad Santa 2” heads into its second act, the laughs begin to die down as our familiarity with original sinks in to where what was once fresh now feels sadly stale. We are introduced to Regent Hastings (Ryan Hansen) who heads the charity and is Christina’s husband who cheats on her and indulges in a foot fetish which is best left to the imagination, and there’s also the security officer who is on the verge of uncovering Willie’s true identity. They eventually bring to mind the characters John Ritter and Bernie Mac played in “Bad Santa,” but these characters are nothing more than mere caricatures supplied for the audience to despise right from the start. The characters Ritter and Mac portrayed were not clichéd ones, and each actor inhabited them with a comic brilliance not easily duplicated. The both of them are very much missed this time around.

Directing “Bad Santa 2” is Mark Waters who gave us “The House of Yes,” the “Freaky Friday” remake and the infinitely enjoyable “Mean Girls” which made a star out of Lindsay Lohan and gave Tina Fey a life outside of SNL. With this sequel, he feels obligated to stay within the original’s formula as straying from it wouldn’t have worked. Waters succeeds in keeping the comic pace of the movie up, and he generates some big laughs which left me in hysterics. However, he can’t keep it from losing steam as we become more aware of where things are heading as this sequel heads to its inevitable climax which is not as inspired as it wants to be.

For me, “Bad Santa 2” is a near miss. Some sequels are mere replications of the original, and this drives most critics up the wall. I can be a bit forgiving as I’m willing to accept this to a certain extent if the sequel proves to be entertaining, but even I have my limits. “Bad Santa 2” succeeds in its first half, but its second half shows its filmmakers running out of steam long before they crossed the finish line. It’s a shame because the original is one of my favorite movies to watch during the holidays, but this one comes up short. It definitely has its devilishly inspired moments, but it could have used more of them.

* * ½ out of * * * *