Coronavirus Quarantine Viewing: In the Line of Fire

In this time of quarantine due to the global pandemic known as Coronavirus (COVID-19), I have not stayed in my apartment all day long as I have no choice but to work. Still, getting my ass out of bed continues to be a struggle, and while I keep saying I have no time to watch any new releases, I do find myself watching whatever is playing on one of the various Starz cable channels. And I have to be honest, there is always a certain movie which captures my attention regardless if I already have the movie on DVD or Blu-ray.

One movie which has been playing on Starz a lot recently is “In the Line of Fire,” the 1993 political action thriller which was directed by Wolfgang Petersen and stars Clint Eastwood as the grizzled and cantankerous veteran Secret Service Agent Frank Horrigan.

I worked at a movie theater in my hometown, Crow Canyon Cinemas, which played it, and during my lunch breaks I would go and watch it to take in the excellent direction, brilliant acting and terrific action sequences.  It also provided me with one of my most frustrating moments while I worked there. While working a shift, an audience member came up to me and said the lights were still up inside the theater. I rushed in to see what was going on, and the lights were indeed still on as the movie opened up on Washington, D.C. and Ennio Morricone’s began playing. Another audience member yelled out, “ARE YOU GOING TO TURN THE LIGHTS OFF?!” This caused others in the audience to laugh, and I walked out of there inescapably pissed. Hey, if I was operating the film projector, I would have made certain the lights were turned off when the movie began. Please do not automatically assume it’s my fault! Do you even know who I am?! Do you know what us concession workers, ushers and box office personal are forced to deal with on a regular basis?!

Anyway, Frank Horrigan is a veteran Secret Service Agent who is busy breaking in a rookie named Al D’Andrea (Dylan McDermott) whom, as you will see, has a really bad first day at work. Upon arriving back at his apartment, Frank receives a call from a man who calls himself Booth, short for John Wilkes Booth, the man who assassinated President Abraham Lincoln. Booth is later revealed to be Mitch Leary (John Malkovich), a disillusioned and deeply obsessed CIA assassin who is determined to assassinate the current President of the United States. From there on out, Frank becomes determined to stop Mitch from ever reaching his murderous goal.

Of course, Mitch has a special reason for telling Frank about his plan as he is the sole active agent remaining from the detail guarding President John F. Kennedy back in 1963 when he was assassinated. Mitch prods Frank into thinking he could have done more to keep Kennedy alive, and we see in Frank’s eyes why this is still a gaping wound which has aversely affected his life for far too long

What really fascinated me about “In the Line of Fire” was the relationship between Frank and Mitch as it worked on different levels. At first, it felt like Mitch was viciously deriding Frank for his failure in Dallas on that fateful day, but perhaps Mitch was taunting Frank in an effort to see if there was any government worker who was still worth believing in. Either that, or perhaps Mitch was eager for some competition as he had long since become such a skilled assassin to where this particular job was easier for him than it should have been. The screenplay by Jeff Maguire is not clear on the answer to this, but this is part of this movie’s charm.

“In the Line of Fire” was the first movie Eastwood had acted in following his Oscar winning triumph, “Unforgiven.” When I saw “Unforgiven,” it forever changed the way I looked at Eastwood as I figured he was just coasting on the success of “Dirty Harry” for far too many years to where he could easily phone in a performance before we realized it But when it came to “Unforgiven,” this movie made me realize he was a consummate artist both in front of and behind the camera. Watching him in “In the Line of Fire” made me see this all the more as, behind that famous glint of his, he succeeds in giving a wonderfully complex performance as Frank Horrigan. From start to finish, Eastwood makes Frank into a difficult, thoughtful, charming, guilt-ridden and stubborn human being, and it is a real shame he didn’t get an Oscar nomination for his performance.

The key scene for Eastwood comes when Frank reminisces about the day of Kennedy’s assassination with Agent Lilly Raines (the always terrific Rene Russo), and he paints a very vivid picture for the audience to where no flashbacks are needed to illustrate what he is talking about. It was also one of the few times back then where we got see Eastwood cry, and an image like this seemed unthinkable for so long. Still, watching this iconic star lose it over an American tragedy which has long since been burned into our collective memory is a beautiful moment. Some are forever trapped in a time and place they can never escape from, and the assassination of J.F.K. is one which still holds many in its grasp.

One actor who did score an Oscar nomination for their performance was John Malkovich. With his character of Mitch Leary, Malkovich created one of the most malevolent psychopaths the world of cinema has ever seen. But as demented as Malkovich makes Mitch (the scene where he puts Eastwood’s gun in his mouth was his idea), he also allows us to see this character has some form of empathy. When Mitch talks about how he doesn’t remember who he was before the CIA “sunk their claws” into him speaks volumes as he has long since become a former shell of his former self to where he has nothing left to live for except revenge. When it comes to Malkovich, you can always count on him to take any character he plays and mold him into something undeniably unique.

I also have to single out Rene Russo who is an absolute joy to watch here as Special Agent Lilly Raines. She made her film debut in “Major League,” but she really caught my eye after co-starring in “Lethal Weapon 3” as Lorna Cole, an internal affairs detective who beat up the bad guys every bit as effectively as Martin Riggs did. When we first saw her in “In the Line of the Fire,” we knew her character was not an agent to be easily messed with as she could kick ass with the best. Still, Russo shows a wonderful vulnerability throughout as Lilly confesses to Frank how she broke off a relationship because she would not give up her job for anyone. Russo does not even have to spell out in words why Lilly is hesitant to become involved with Frank as any potential relationship comes with a lot of baggage, and yet the chemistry between these two proves to be so strong to where we have one of the more hilarious love-making scenes in cinema history. As we see the various objects drop off them as they climb into bed, we can understand Frank’s frustration about having to put all of it back on.

“In the Line of Fire” was directed by Wolfgang Petersen, the same man who gave us the greatest submarine movie ever made, “Das Boot.” Petersen directs this movie in a way which makes it clear to us how character means more to him than spectacle. Whether or not the stunts are the best you have ever seen, they are exciting as hell because we are rooting for the characters from start to finish. As the story heads to a most thrilling climax, I could not take my eyes off the screen for a second.

This movie also has one of my favorite film scores ever by the great Ennio Morricone as he nails every single moment for all its emotional worth. Whether it’s the main theme which is filled with a hard-fought for patriotism, the romantic themes which illustrate the growing relationship between Frank and Lilly, or the themes which add to the taut action sequences, there is not a single false note to be found here.

It is nice to revisit “In the Line of Fire” after all these years, and it still holds up in this day and age. It is a top-notch thriller and the kind of character driven motion picture we do not see enough of these days. It also makes you respect the secret service in a way we always should have. They have to defend the President of the United States regardless of how they feel about him or her as a person. I mean, heaven forbid we have another President serve as a martyr for this great country the way John F. Kennedy did. I bring this up because this is especially the case when we are forced to deal with an infinitely unpopular President, and I will just leave it at that.

* * * * out of * * * *

How Taxi Driver Forever Changed The Way I View Movies

While “Goodfellas” introduced me to the filmmaking brilliance of Martin Scorsese and became my all-time favorite movie, it was “Taxi Driver” which really shaped the way I view movies today. Before seeing it, I always tried to avoid those movies which would make me sad or were too dark. This was a result of my parents having to carry me out of “Star Trek II” and “E.T.,” both of which I cried so hard over to where others wondered if I was okay. I promised myself I would never put my family through such embarrassing situations ever again, and this was especially the case with my brother who was constantly annoyed at my emotional outbursts.

Unlike “Goodfellas” which was immensely entertaining and had great comedic moments, “Taxi Driver” is dark, dark, dark. There is nothing the least bit glamorous to see here as we watch the main character of Travis Bickle (played by Robert De Niro) get continually sucked into a corrupted environment he deeply despises. I kept hoping for him to achieve sort of redemption and maybe, just maybe, have another chance with Cybil Shepherd’s character of Betsy whom he had a memorable first date with. But as we reach the movie’s bloody conclusion, I realized there was nowhere for Travis to go but down. While the reaction to his actions may have been surprising, we all know the truth about Travis and realize something will set him off again before we know it.

Once the end credits went up, my dad asked me what I thought about “Taxi Driver.” My initial reaction was it was not exactly enjoyable. My dad’s response to this has always stayed with me, “Not all movies are meant to be enjoyed. Some are meant to be experienced.”

Looking back, I see what he meant. Look, there are a lot of reasons to not make a movie about someone like Travis Bickle; he’s seriously nuts, not a good date if you want to go to the movies, and watching him lose his mind is painful. But the thing about “Taxi Driver” is people like Travis exist, and turning a blind eye to their existence does us no good. We need to understand why people do the things they do. It’s like what Roger Ebert said in his review of the film:

“Scorsese wanted to look away from Travis’s rejection; we almost want to look away from his life. But he’s there, all right, and he’s suffering.”

With “Taxi Driver,” I came to see how you need these kinds of movies just as much as you need the average escapist entertainment. Some movies need to shine a light on the darker parts of human nature to remind us we need to acknowledge we have a dark side and realize we have more in common with Travis Bickle than we would ever care to think or admit.

Since watching “Taxi Driver,” I have become completely open to movies which disturb me or take me on a journey I would not necessarily want to endure in real life. I can’t stand to watch films in a passive manner. I want to be moved by what I see, be disturbed and shaken, and even weep. Movies are too powerful an art form to be made just for the sake of entertainment. There are so many things about the human existence which deserve to be captured on celluloid, and I believe audiences crave these kind of cinematic experiences as they do the next Marvel movie.

“Taxi Driver” is my second favorite movie of all time, right behind “Goodfellas.” It is a movie I admire above so many others, and I still watch it from time to time. There are many I get sick of watching, but this is one I will never tire of sitting through.

Billy Crystal Talks About Working with Jack Palance on City Slickers

While at the twentieth anniversary screening of “City Slickers” which was held at the Aero Theatre in Santa Monica on August 12, 2011, Billy Crystal talked about working with the late Jack Palance in that film. Palance co-starred as Curly Washburn, the most authentic of cowboys, and it was a role which earned him the Oscar for Best Supporting Actor. In addition, it provided Crystal with one of the best setups in his Oscar hosting history; Palance’s one-armed push-ups which proved he was not too old to ever act in a motion picture.

One movie the “City Slickers” filmmakers viewed before they started shooting was “Shane,” the 1953 western starring Alan Ladd as the title character and Palance as Jack Wilson, and Crystal said this was the first movie he ever saw on the silver screen. When it came to casting Curly, he said they considered no one but Palance for the role. “Shane” marked the last time Palance got an Oscar nomination until he did “City Slickers,” and that’s a difference of 38 years!

Palance worked on “City Slickers” for a total of 10 days. Before he arrived on set, the crew kept saying, “the big cat is coming.” The director of the movie, Ron Underwood, was described by Crystal as the “sweetest guy” and a “puppeteer.” But when it came to the first day of shooting, Palance told Crystal he always got “nervous.” When Underwood asked him to do that “glare” of his one more time, Palance replied, “What glare?!”

After this, Palance put up a fit which had Underwood’s hair standing on end. No one was expecting this kind of tantrum from the former host of “Ripley’s Believe It or Not.” But after the first day, things got better even though Palance was never thrilled about being on a horse. Both he and Crystal continually ran lines with one another, and Crystal described the two weeks they worked together as feeling like nine months.

Crystal described Palance as a “real movie actor” in how he understood the size of his head. Palance owned the camera and his appearance in a way few actors can ever hope to. His role as Curly capped off a long and memorable acting career. While he sadly passed away in 2006, his legacy continues to live on from one generation to the next.

Billy Crystal Looks Back at the Making of City Slickers

Billy Crystal was at the Aero Theatre in Santa Monica, California on August 12, 2011 when American Cinematheque screened “City Slickers” in honor of its 20th anniversary. Unlike other guests, Crystal actually sat through the entire movie with the sold-out audience and a few people involved in its making: director Ron Underwood, director of photography Dean Semler, actors Daniel Stern, Tracey Walter and Bill Henderson, and screenwriters Lowell Ganz and Babaloo Mandel. Afterwards, Crystal did a Q&A with Geoff Boucher of the Los Angeles Times, and he said the last time he saw “City Slickers” was at its premiere in Hollywood.

“City Slickers” was made with the invaluable help of Castle Rock Entertainment. Crystal said he pitched it and “Mr. Saturday Night” to the studio. Unlike “When Harry Met Sally,” which he did before this, “City Slickers” proved to be a logistically difficult film to make. However, the prep time he had with Stern and the late Bruno Kirby was the best ever, and Crystal described the training they had as being so much fun.

Prior to filming, Crystal, the writers and Underwood looked at the classic westerns “Shane” and “Red River” for inspiration. Crystal said it looked like they had 9,000 cows in the shots, and this made him think markets had no beef to sell as a result. Everyone involved felt everything needed to look real, so the production pushed those cows and trained those horses endlessly.

The movie’s opening scene in Pamplona, Spain, was shot there and not on some soundstage. Crystal said Ganz was the one who suggested the bulls running to the studio. An hour after hearing this, the studio had hotel reservations ready for the cast and crew. It was no surprise to hear Crystal say they would never be able to do this scene today as it would all have to be done digitally now.

One audience member asked if Norman the cow was still around. It turns out there were 10 or 11 different cows used as they got old very quickly and had to be replaced. As for Norman’s birth scene, Crystal said it was shot in three different states and that he and Jack Palance, while in the same scene, were not on set together for it. Crystal shot his takes in Colorado while Palance filmed his in New York. Other parts of the scene were shot in California near Simi Valley.

The river crossing scene was the toughest one to shoot in “City Slickers,” Crystal said. The cows kept mounting each other and he, Stern and Kirby were all wearing wetsuits underneath their clothing, as the water was about 50 degrees. This led one of the stunt coordinators to tell Crystal, “Pee in your wetsuit!” Now, as disgusting as this may sound, urine has a temperature of 90 degrees or more, so it sure must have come in handy during filming!

Crystal laments how Hollywood does not make movies like “City Slickers” anymore. While he did not want to sound bitter, he said there was a different sensibility back when it was made, and he hopes movies will come around back to it in the future. Picturing how a studio executive would see it today, Crystal felt they would probably say to him, “Can we get them to the ranch faster? I want those guys there by page nine!”

Still, 20 years later after its release, we were all in agreement with Crystal that “City Slickers” holds up very well and is just as funny and entertaining as it was when it first came out. Seeing it on the big screen where it plays best made this clear to everyone in attendance.

Greta Gerwig’s ‘Little Women’ is Simply Brilliant

It was published back in 1868, but Louisa May Alcott’s “Little Women” remains one of the most timeless novels ever written. It has been made into a movie six times, been turned into several shows on television, was eventually adapted into a musical, and even an opera was created out of it. Taking this into account, it should be no surprise this particular piece of literature remains a popular one from one generation to the next.

Now we have the seventh adaptation of “Little Women,” and it comes to us courtesy of writer and director Greta Gerwig who is still riding high off of her success with “Lady Bird.” Is it better than Gilliam Armstrong’s 1994 cinematic adaptation which starred Winona Ruder? I don’t know, and at this point I don’t care because making such comparisons threatens to do a real disservice to both versions. All that matters is Gerwig has taken this classic novel and turned it into a motion picture which is uniquely her own. A story which has been read and told to others over the ages now feels fresh again, and it is one of the best films of 2019.

Alcott’s “Little Women” was originally published in two volumes, the first which dealt with March sisters’ (Jo, Mary, Beth and Amy) childhood in Massachusetts, and the second which followed them into their adult years. While previous versions have presenting the story in a linear fashion, Gerwig dares to tell the tale in a non-linear fashion as she has the present and past intertwining with one another. This has the result of giving the story and its characters more depth than was already there, and the emotions are more powerful as a result.

Now granted, this non-linear approach was a bit jarring for me because, at first, it was a little hard to figure out where things were taking place. But thanks to director of photography Yorick Le Saux who uses different strokes of light to differentiate the two parts, I did eventually gain a foothold on where things were going. The childhood sequences are painted in a beautiful set of hues which typically color our most nostalgic memories, and the adult scenes are illustrated with darker and more stark colors to remind us of how harsh the real world can be.

Looking back at Armstrong’s “Little Women,” it almost seemed fantastical in the way it portrayed the March family as if they had it made. Gerwig’s version reminds us of how they lived in poverty and were forced to fend for themselves while the patriarch (played by Bob Odenkirk) is away fighting as a soldier in the Civil War. But thanks to the wealthy Mr. Laurence (Chris Cooper), they have a friend who will help them during the toughest of times. Isn’t that great? You know, when the rich went out of their way to help out the poor?

“Little Women” features a bevy of fantastic performances from a gifted cast. Saoirse Ronan is ever so wonderful as Jo, the most free-spirited March sisters who is determined to become a writer and defy society’s expectations of her as a lady. Ronan inhabits this character in such a marvelous way to where her spirit proved to be infectious, and she makes you want to follow along with here from start to finish. She is so full of joy here, and you want to experience this joy with her.

Another key performance comes from Florence Pugh who plays the artistically inclined Amy March. Pugh already wowed us earlier this year in the deeply unnerving “Midsommar,” and here she gets to play this movie’s most complex character as Amy struggles to separate her expected duties as a woman from what her heart is telling her to do. Pugh does excellent work in portraying the conflict within Amy as her words express a surrender to what society expects of her even as her eyes show what her heart truly desires more than anything else.

It is also great to see Laura Dern here as the matriarch of the March family, Marmee. While she has done a lot of great work on television over the years, the recent movies Dern has appeared in like “Cold Pursuit” have made unforgivably poor use of her talent. Here, Gerwig gives her a platform to do some of her most memorable work on the silver screen in some time, and she makes the most of it. Dern even gives Marmee an extra layer of depth when she admits how her pleasant nature manages to hide how angry she is at the world around her.

The rest of the cast features actors you can never go wrong with. Meryl Streep is a joy as always, this time playing the far too high-minded Aunt March. Timothee Chalamet shows incredible range as he takes Theodore “Laurie” Laurence from a hopelessly naïve young man to a troubled soul whose broken heart can never be easily mended, and then he shows us the person who arrives on the other side of all that to tremendous effect. Emma Watson makes Margaret “May” March into a character who goes from having endless anxiety about her place in society to becoming a strong individual who comes to see what her heart desires most in life. And then there’s Tracy Letts who has appeared in what seems like every other movie this past year, and he plays Jo’s story editor Mr. Dashwood to great effect.

Gerwig’s “Little Women” is one of those films which had me completely absorbed and engrossed in its story and characters to where I never took my eyes off the screen. There is not a single false note to be found here as Gerwig shows off a sheer confidence as a director which makes clear how her previous successes behind the camera were no fluke. In taking one of the most classic novels ever written, one which has been adapted dozens upon dozens of times, she shows a mastery over the material to where it is impossible to think anyone else could have done as great a job as she has here.

Many will probably view “Little Women” as nothing more than a “chick flick,” but this rather shallow description does it no justice. Regardless of what your gender or sexual preference is, there is a lot of us in these unforgettable ladies. They yearn for better futures, get caught up in the innocence of their childhood to where they let their collective imaginations run wild, and they struggle with what a cruel world which expects only so much from them. Please do not try to convince me you cannot relate to these women go through because of who you think you are. Their struggles are not very different from our own, and this makes this particular adaptation so remarkable as we relate to them in inescapable ways. This is truly one of the best movies of 2019.

* * * * out of * * * *

‘Zombieland: Double Tap’ is Fun, But Also a Bit Stale

Zombieland Double Tap poster

For the record, I have seen the original “Zombieland” although it took being on cable one morning for me to watch it. In the midst of an endless sea of zombie movies and television shows, here was one which had a fresh take on the zombie apocalypse, and it proved to be endlessly entertaining throughout. While everything and everybody could have been easily upstaged by Bill Murray’s howlingly funny cameo where he is at his self-effacing best, it had a game cast of actors who reveled in the fun you could tell they were having during its making.

Now it is 10 years later, and we finally have the long-awaited sequel “Zombieland: Double Tap” (nice title). The cast now comes with at least one Oscar nomination under their belts, Reuben Fleischer is riding high after the commercial success of “Venom,” and screenwriters Rhett Reese and Paul Wernick have freed themselves from the “Deadpool” franchise long enough to pen this one. What results is definitely fun, but it also lacks the freshness of its predecessor, and everyone seems to be trying a little too hard to be funny and clever this time around. Plus, the sight of a zombie’s head getting bashed does not have the same visceral thrill it used to have.

When we catch up with our intrepid band of heroes, they are laying waste to the latest zombie horde as they make their way towards a government building which these days has had one too many unwelcome guests – The White House. Columbus (Jesse Eisenberg) has long since become a hardened survivor, and the many nights he spends with Wichita (Emma Stone) in the Lincoln Bedroom has him seriously thinking about marriage. As for Tallahassee (Woody Harrelson), he treats everyday in there like it is Christmas while Little Rock (Abigail Breslin) continually resents him for treating her like she is still a little girl. Things come to a head when Wichita and Little Rock suddenly become tired of life in the Oval Office and hit the road to find some new sights. After some hesitation, Columbus and Tallahassee do the same.

For a moment, I figured “Zombieland: Double Tap” would take place entirely in The White House and that the filmmakers would take great pleasure in ridiculing the terrible state of American politics. But since “Zombieland” took place largely on the west side of America, it only makes sense we find these characters traveling through various locales on the east coast which include, yes, Graceland. Like in any zombie movie, home is where you find it as no one can afford to stay in the same place for very long.

Seriously, these movies thrive on their inspired cast of actors. Woody Harrelson, who can play just about any role at this point in his career, looks to be having the time of his life as Tallahassee as we watch him channel Elvis Presley more often than not, and he makes his undying hatred of pacifism and minivans especially palpable. Eisenberg and Stone play off of each other wonderfully as they constantly try to prove who is more sarcastic than the other. As for Breslin, it has been fascinating to watch her grow up onscreen, and her yearning to look for other people her age in this apocalyptic world gives her character more room to grow than the others.

Still, there is a constant feeling of “been there, done that” which permeates these proceedings. Sometimes filmmakers can get away with doing the same thing one more time, but other times they fall victim to staying in their comfort zone to where things get stale very quickly. With “Zombieland: Double Tap,” it is an example of half and half as there is still much fun to be had, but what was once fresh now feels far past its expiration date. Plus, seeing these characters continually try to be cleverer than the other gets exasperating rather quickly.

One of the things this sequel really has going for it is new blood. Zoey Deutch, so fetching in “Everybody Wants Some,” is a scene-stealer as the infinitely dumb Madison. Sure, this character is a dumb blonde cliché, but Deutch is a hoot throughout as she makes Madison so adorably stupid to where I kept waiting for her to sing “Cause I’m a Blonde” at the drop of a hat. We watch a lot of movies like these waiting for dumb blondes to die a most horrible death, but Deutch gives us more than enough reason to see Madison live one more day and then die on another.

There is also the always excellent Rosario Dawson who shows up as Nevada, a fellow survivor who, like Tallahassee has quite the thing for Elvis. She and Harrelson have quite the chemistry together as they talk about their love for “the king,” and it is a shame she is not in the movie more. However, when she does reappear, it is at the perfect moment.

And there is no forgetting Luke Wilson and Thomas Middleditch who play… Well, just watch the movie to find out.

Fleischer does what he can to keep things rolling, and he gives us one great zombie attack sequence which lasts several minutes and looks like it was done in one shot. This sequel is never boring, but it still feels lacking in one way or another. Even when the main characters ban together to attack an amazingly large horde of zombies which threaten Babylon, an oasis of peace which is just asking to be laid waste to especially when you take into account it has a no guns policy, the climax is never as thrilling as it wants to be.

“Zombieland: Double Tap” is not a bad movie, but it is also not particularly memorable. Whether or not the fans of the original enjoy it, I do not think it will have the same staying power. Everybody here looks ever so happy to be reunited, and the fun is definitely on display, but that same amount of fun does not quite translate fully over to the audience. In the end, things could have been much worse, but this sequel is still a near-miss for me.

By the way, be sure to stay through the end credits as there is a couple of post-credit scenes which are funnier than anything else in this sequel. Trust me, it is worth waiting to go to the bathroom until after the lights come up.

* * ½ out of * * * *

‘We Own The Night’ Has Surprises Up Its Sleeve

We Own The Night movie poster

WRITER’S NOTE: This review was written back in 2007.

We Own The Night” was written and directed by James Gray, and this is the first movie of his I have seen. His previous movies include “The Yards” and “Little Odessa,” and looking at the cast and stories behind those two makes me believe he is more drawn to character driven works. Those kinds of movies threaten to be a dying breed in cinema today, and it is nice to see there are some who are determined to see them still make it to the silver screen even as Hollywood is more obsessed about the latest franchise or blockbuster at their disposal.

From the outside, this movie looks like another Cain and Abel story with two brothers on opposite sides of the law. There is Joseph Grusinsky (Mark Wahlberg), an officer of the New York police department who, as the movie begins, is getting a promotion. He is clearly following in his father’s (Robert Duvall) footsteps, as he is also a cop. Then you have Bobby Green (Joaquin Phoenix) who is also a Grusinsky, but he keeps his mother’s maiden name for his own business ventures. Bobby runs a nightclub which is owned by the Russian mafia, and he revels in the partying and drugs which come along with it. He also has a girlfriend, Amada (Eva Mendes), who dotes on him endlessly.

So, the movie starts off as a story where it looks like one of the brothers is going to kill the other one, and I think this is what kept me from rushing out to see it when it arrived in theaters. From what I had seen in the advertisements, it looked like a story I had already seen far too many times before. I was afraid it was going to be “Backdraft” but with cops instead of firemen. But as the movie went on, it took a number of left turns that broke through all the clichés which threatened to stand in its way. Just when you think you know where things are going, it goes in another direction and keeps you guessing as to what will happen next.

Obviously, Gray has seen a lot of movies from this genre, and he is seriously intent on subverting the expectations of the audience throughout. Not to give anything away, but there is a serious event which occurs early on. Preceding that, Joseph leads a narcotics raid on Bobby’s nightclub which completely infuriates and embarrasses Bobby. They end up getting into a physical confrontation the next day and go their separate ways, but then that serious event happens, and it changes everything and everybody. The person it ends up changing the most is Bobby. He ends up putting his life on the line to right the wrongs which have been inflicted upon his family, and soon his job as a nightclub manager becomes almost completely irrelevant. From there, he moves over to the other side of the law. It’s like the scene where Hugo Weaving waves that sword in front of Viggo Mortensen’s face in “The Lord of The Rings: The Return of the King” and says, “Become who you were born to be!”

This is a purely character driven movie which treads through very familiar waters of many other movies of this genre. At the same time, everything felt fresh and involving to me. A lot of this is due not just to the writing and direction, but also the actors. Joaquin Phoenix has long since escaped the shadow of his famous brother River (he is still missed), and he continues to give one great performance after another. From “Gladiator” and “Walk the Line” to this, he opens himself up completely on an emotional level which makes him all the braver as an actor. He makes you sympathize with a character who starts off as selfish junkie only interested in his own needs and desires. As the movie goes on, he manages to convince you thoroughly of his desire to do good, and to right the wrongs of his sins.

Mark Wahlberg has also put in some strong performances over the past few years as well. He is a guy who has been on both sides of the law, and he managed to come out of the negative elements in one piece. This is a guy who brings his life experience to each role he plays, and he makes you almost completely forget he was Marky Mark and rocking out with the funky bunch years ago. These days, he is the go-to guy for these kinds of roles, and you never doubt his believability as either a good or bad guy.

Then there is Robert Duvall, and he is an actor who cannot seem to do any wrong, and he still never gives us any less than the best of what he has got. There is a moment in this movie where he reacts to an event which has befallen to one of his sons. His reaction to it is not one which can ever be easily faked. It looks from a distance like what he does is easy to do, but it is not. Trust me, you will know the moment when it comes up.

This movie has a number of very intense moments as Bobby goes deep into undercover work and puts his life on the line without even thinking about the consequences. There are action sequences near the end which prove to be very suspenseful and keep you on edge of your seat. There is also a car chase which, while it may not rank among the best ever, is very well done and expertly staged. Seriously, this motion picture was full of surprises throughout.

“We Own The Night” is not quite a great movie as it does tread familiar ground without adding much freshness to it, but it is very well-conceived to where there is no doubt the amount of thought and time Gray put into its making. It is also a movie which cannot be boiled down into one sentence as the story touches on many themes, and that is one of the highest compliments I can pay to any filmmaker these days.

* * * ½ out of * * * *

 

‘Spider-Man: Far from Home’ is a Fun Ride, and it May Be the Web Slinger’s Last in the MCU

Spider Man Far From Home Theatrical Poster

So, after a summer filled with an endless need to make ends meet, I finally got the chance to check out “Spider-Man: Far from Home.” Watching it at this point proves to be bittersweet as this may be the character’s last time in the Marvel Cinematic Universe since Disney and Sony are in a battle over profits. Spider-Man does whatever a spider can, but even a spider can fight only so much against greed and capitalism before he is undone or rebooted. It’s a crying shame because Peter Parker and his alter-ego were wonderfully reinvigorated thanks to Tom Holland who, ever since “Captain America: Civil War,” has proven to be the best Spider-Man yet. Here is hoping this will not be the last time we see Holland in this role as he keeps us invested in this teenager’s never-ending struggle between managing adolescence and being a superhero.

Eight months have passed since the events of “Avengers: Endgame” in which our heroes thwarted Thanos’ snap (everyone else calls it “the blip”) but did so at a great cost. Peter still mourns the death of Tony Stark as he tries to get back to being just a friendly neighborhood superhero, but Tony’s face is everywhere and it seems like everyone else expects Spider-Man to be the next Iron Man. It’s a lot to place on the shoulders of any one person, let alone those of a teenage boy eager to tell the girl he has a mad crush on how he truly feels about her.

A better title for this “Spider-Man” outing would have been “Spider-Man’s European Vacation” as Peter and his classmates which include his best friend Ned Leeds (Jacob Batalon) and love interest MJ (Zendaya), travel to Europe and some neighboring countries. Peter sees this as a much-needed opportunity to take a break from his Avenger duties and just be a kid, and Ned sees it as a chance for the two of them to be American bachelors in Europe because, or so he says, “Europeans love Americans.”

Of course, none of us can expect any Avenger to get much vacation time as the Water Elemental strikes with a vengeance in Venice, leaving our characters to run for their lives. Peter quickly springs into action, but he is aided by another superhero who goes by the name of Quentin Beck (Jake Gyllenhaal), but we all come to know him as Mysterio. Even though the two of them save the day, Nick Fury (the always reliably bad ass Samuel L. Jackson) shows up to tell him his help is needed. Peter protests how he is not ready to extend his duties beyond Queens, New York, but Fury bluntly reminds him, “Bitch, you’ve been to space!”

“Spider-Man: Far from Home” works best when it focuses more on the human element than on the spectacle. Spider-Man has always proven to be one of the most human of superheroes in movies and literature as his personal problems are no different from the ones we experienced at his age. Deep down, we all wanted to seem normal to our fellow classmates, and so does Peter. Still, hormones and awkwardness among other things needlessly but inevitably complicate our lives to where we are left with a lot of emotional scars which take forever to heal, if at all. Peter Parker is the MCU’s prime example of this, and it makes you admire him all the more as his juggling act is made all the more challenging throughout.

Jon Watts returns to the director’s chair after having done an excellent job with “Spider-Man: Homecoming,” and he infuses this installment with the same amount of fun and excitement. Along with screenwriters Chris McKenna and Erik Sommers, he makes Spider-Man’s predicament parallel with the insane times we live in as “alternative facts” and “fake news” have been given far more power than they ever deserved. Whether or not our heroes win the day, we are left to wonder if they will ever be able to fully control the narrative. As one character points out late in the film, “People need to believe, and nowadays they’ll believe anything.” As much as I hate to quote Rudy Giuliani in this or any other review, his ridiculous statement of how “truth is not truth” is played to great effect throughout this movie and its post credit scenes.

The thin line between reality and fiction is put to the test in an amazing sequence in which Spider-Man is thrust into a simulated world which alters his perception of reality in the same frightening way Jennifer Jason Leigh and Jude Law were in David Cronenberg’s “Existenz.” Just when Peter thinks he has a handle on things, so do we, and this proves to be our Achilles heel as reality is not at all what it used to be.

The climatic battle in “Spider-Man: Far from Home” ends up containing a bit too much in the way of CGI and suffers from overkill as a result. It is entertaining to sit through, but the overuse of visual effects ended up taking me out of the action more than I would have liked, and it makes this sequel pale in comparison to “Homecoming.” It always sucks when you watch a visual effect knowing it is a visual effect because there are many moments in this film which made me feel the exact opposite. Still, it failed to take away much of the enjoyment I had in watching these characters suffer through one of the best and worst field trips any of us could ever hope to have.

I also gotta say just how much I love this cast of actors. Aside from Holland, you have the great Martin Starr who is a deadpan delight as academic decathlon teacher Roger Harrington, “Iron Man” director Jon Favreau who gleefully returns as Harold “Happy” Hogan, Marisa Tomei who has long since proven to be the most alluring Aunt May of all, Cobie Smulders who remains an enticing and powerful presence as Maria Hill, and J.B. Smoove is a hoot to watch as science teacher Julius Dell. In addition, Tony Revolori returns as Peter’s classmate and YouTuber Eugene “Flash” Thompson as it allows us to see something many of us have wanted to see done to the most annoying YouTubers of all; get a swift kick in the balls.

It’s fascinating to watch Gyllenhaal here as he was almost cast as Spider-Man at one point. Seeing him making his first appearance in the MCU is a most welcome one as he has long since proven himself an actor to be reckoned with in movies like “Nightcrawler” and “Nocturnal Animals.” As Mysterio, he makes this character a complex one as he sympathizes with Peter’s plight while proving to be a bit of an enigma. When the truth of Mysterio is revealed to all, it made me respect Gyllenhaal’s performance all the more as it shows how he has to play not just with Peter’s mind, but the audience as well. Looks can be deceiving, and Gyllenhaal makes them especially deceiving here.

Like I said, watching “Spider-Man: Far from Home” proves to be very bittersweet as this may very well be the very last time we see this iconic character as part of the MCU. It’s a real shame as the first post credit scene we get foretells of a dark future for Peter Parker as his life is completely compromised through, among other things, doctored footage. Where can he go from here? It’s an infinitely interesting question.

Whatever happens from here, we will always have J. Jonah Jameson.

* * * out of * * * *

 

‘Once Upon a Time in… Hollywood’ – A Quentin Tarantino Fairy Tale

Once Upon a Time in Hollywood movie poster

Quentin Tarantino once said he did not have an “Age of Innocence” in him like Martin Scorsese did, but after watching his 9th film “Once Upon a Time in… Hollywood,” I think he may be mistaken. Yes, it does have an R-rating like and features some truly brutal moments of violence where faces are literally pounded in, but this is largely a loving tribute to the Hollywood of the 1960’s and of the actors and filmmakers which inhabited it. Considering Tarantino’s attention to detail and his fetish for any kind of artifact from this era, I have no doubt he would have loved to have been a filmmaker back then if he could.

Tarantino and his longtime cinematographer Robert Richardson transport us back to the Hollywood of 1969 where we meet Rick Dalton (Leonardo DiCaprio), an actor and former star of a “Wanted Dead or Alive”-like television series called “Bounty Law.” After having a conversation with his agent Marvin Schwarzs (Al Pacino, more restrained than usual), he comes to see how washed up his career has become as he is reduced to doing guest spots as the villain on various television shows. The only person he can talk to about his troubles is his best friend and stunt double Cliff Booth (Brad Pitt) who is always around to have a drink with and drive him around town as Rick has had one DUI too many.

“Once Upon a Time in… Hollywood” is kind of like a Robert Altman film in that it doesn’t have a straightforward plot. Instead, it acts as a day in the life story as we watch Rick Dalton try to move on with his acting career as an important decision hangs over him, whether or not to move to Italy where he can star in low budget spaghetti westerns. When the story isn’t focused on him, it focuses on Cliff who seems content to live in a trailer out in Van Nuys with his dog who is a bit annoyed at him for serving him the kind of dog food which slides out of its steel can as if it were pure slime.

The only thing Rick seems fairly excited about these days is the fact Roman Polanski and Sharon Tate now live next door to him in the Hollywood Hills. But looming in the background is Charlie Manson and his cult of followers who look at first to be harmless hippies, but they later reveal themselves to be devoted to him in a most unhealthy way. Those of us who are familiar with history, and who have a deep respect for historical facts, know Sharon Tate and others were murdered by Manson’s followers, and that this shocking act all but ended the era of love and peace irreparably. But as I watched this film, I began to wonder if Tarantino would stay true to history, or if he would play around with it as he did in “Inglourious Basterds.” Whatever the case, the presence of Manson and his cult cast an ominous shadow over the proceedings, so we know the end of this story will not be the least bit pretty.

Watching “Once Upon a Time in Hollywood” reminded me of how much I love it when a filmmaker sucks us right into another time and place to where we don’t doubt the accuracy and attention to detail. Cameron Crowe did this with “Almost Famous,” Paul Thomas Anderson did wonders with the 70’s and 80’s in “Boogie Nights,” and Tarantino does the same as he brings us right back to 1969 with wonderful abandon. All the famous landmarks of Hollywood are here including the Cinerama Dome, Musso & Frank Grill, El Coyote Restaurant and the classic movie theaters located in Westwood. New Beverly Cinema can be seen from a distance as it is shown having a premiere for an adult film, and this was back when it was a porno theater.

This attention to detail also includes the kind of beer these characters drank, the type of books they read, television antennas and cars. This was back in a time when people smoked an endless number of cigarettes, drove and sat in cars without having to wear seatbelts, and when love and peace was in the air even as wars were being waged overseas.

It is great fun to see DiCaprio in this kind of role after seeing him be so serious in “The Revenant,” a movie which earned him the Oscar he should have received for “The Wolf of Wall Street.” He’s a gas here as he makes Rick Dalton into a study of desperation as he struggles to maintain what’s left of his image and berate himself while alone in his trailer. The scene he has with a child actress played by the wonderful Julia Butters is a special highlight as she shows him the kind of innocence and love of acting he once had before life, alcohol and a corrupted world view clouded his perception.

As I have said in the past, I love it when Pitt gets down and dirty in a role, and he does just this as Cliff Booth. In addition to being Rick’s stunt double, he is also a Vietnam veteran, and the violence he inflicts on others who wrong him can be described at the very least as punishing. Pitt also proves to be as funny as DiCaprio from scene to scene, and he has a classic scene opposite Mike Moh who is pitch perfect as Bruce Lee in which I saw something I never thought I would see or believe, someone getting the best of Bruce Lee.

But one performance I really need to single out here is Margot Robbie’s as Sharon Tate. While at the Cannes Film Festival, someone asked Tarantino why he didn’t give Robbie the same amount of dialogue he gave DiCaprio and Pitt. I don’t remember who asked this question, but whoever it was, they completely missed the point. It’s not always dialogue which aids a performance. Sometimes it’s just a look or an attitude, and Robbie gives off a look or two which is more than enough to capture the essence of Sharon Tate as well as her beguiling innocence.

Tate has long been relegated to history as one of the Manson family’s murder victims, but she deserves to be known for much more. As Robbie sits in a Westwood movie theater watching a movie Tate co-starred in, we are reminded of a talent which was taken away from this world far too soon, and it makes me want to check out everything Tate ever appeared in. Robie does a fantastic job of reminding us how fun it is to see ourselves, let alone our name, on the silver screen as others look on, unaware of who is sitting next to them in the audience, and she is as radiant as Tate was in her far too brief lifetime.

There are so many familiar actors worth singling out here, but some of them you may not see coming and I am not about to spoil any surprises this film has to offer. I will say it’s always a delight to see Kurt Russell in anything and everything, and he is great as a stunt coordinator who is not quick to warm up to Cliff. Margaret Qualley is a memorable presence as Pussycat, a member of the Manson family who does warm up to Cliff. Bruce Dern, in a role originally meant for the late Burt Reynolds, is fun to watch as George Spahn, a man whose ranch was used for many westerns and which later got used by Charlie Manson and his demented followers. And it is quite bittersweet to see the late Luke Perry as it is the last feature film he will ever appear in.

Seriously, as rough and tumble as “Once Upon a Time in Hollywood” gets, it really is a love letter to a Hollywood which time will never forget. As Tarantino nears the end of his long filmmaking career (or so he says), he continues to give us one enthralling motion picture experience after another. Even if his works threaten to be undone by self-indulgence, I am glad people are thoughtful enough to give him the freedom to make what he wants to make. If Tarantino ever had it in him to give us a fairy tale, this would be it. Even as its main characters threaten to be forever swallowed up by bitterness and cynicism, there is a light of innocence which helps lead them to the next stage in their lives. And if this film is any indication, this is time in Hollywood which Tarantino wishes lasted longer than it did.

Now, as with any Tarantino film, I have to go out and buy the soundtrack and then watch it again. And one other thing, I almost didn’t recognize Timothy Olyphant. Did you? Oh yeah, and sauerkraut will never be the same.

* * * * out of * * * *

‘Django Unchained’ – Tarantino’s Down and Dirty Western

Django Unchained movie poster

WRITER’S NOTE: This review was originally written in 2012.

Every time Quentin Tarantino releases a new movie, a celebration should be in order. The man loves movies like many filmmakers do, but he always succeeds in manipulating genre conventions to where he can freely make them his own, and this makes his works all the more thrilling. There’s also no beating his dialogue which exhilarates us in the same way a play by David Mamet can, and words in a Tarantino movie usually prove to be every bit as exciting as the action scenes. His latest movie “Django Unchained” is no exception, but it does suffer from some of his excesses which have taken away (if only slightly) from the films he has given us in the past. But if you can get past its flaws, you are still in for a very entertaining time.

Jamie Foxx stars as the Django of the movie’s title, and it takes place in the year 1858 which was just two years before the start of the Civil War. Django is being led through the freezing cold wilderness along with other slaves when he is freed by Dr. King Schultz (Christoph Waltz), a dentist who has since become a bounty hunter. King needs Django’s help in finding the Brittle brothers, ruthless killers who have a sizable price on their heads. In return for Django’s help, King promises him he will help rescue his wife Broomhilda (Kerry Washington) from slavery. She is currently in the hands of the charismatic but viciously brutal plantation owner Calvin Candie (Leonardo DiCaprio), and you know this will lead to a conclusion which will be anything but peaceful.

Tarantino always loves to mix genres, and he does this brilliantly with “Django Unchained.” On the surface it is clearly a western, but the “Pulp Fiction” auteur also combines it with the Blaxploitation genre which we all know is one of his favorites. Heck, we even get to meet the ancestors of John Shaft, the black private detective made famous by Richard Roundtree in the movie “Shaft.” Just as he did with “Inglourious Basterds,” Tarantino gleefully throws caution to the wind as he subverts both genres to create an exhilarating motion picture experience few other people can give us. He’s not out to make a historically accurate movie, but we’re having too much fun to really care.

Now many people including Spike Lee have complained about Tarantino’s overuse of the n- word in this movie as they have of other films he’s made in the past. In their eyes it’s like they’re saying Tarantino revels in the racist behavior of his characters, but I don’t think that’s even remotely true. All the insanely racist characters in “Django Unchained” end up getting their asses handed to them in the most painful way possible, and while Tarantino’s love of black culture might differ a little from others, the love is there all the same.

And again, Tarantino gives us a terrific soundtrack filled with many songs which are not from the time period this movie takes place in. I love how he complements scenes of Jamie Foxx and Christoph Waltz riding on their horses with songs by James Brown, John Legend and Brother Dege (AKA Dege Legg) among others. He also includes pieces of film scores by Ennio Morricone and Jerry Goldsmith for good measure, and there are even original songs to be found here as well, something exceedingly rare for a Tarantino movie.

Having said all this, the length of “Django Unchained” did drive me up the wall a bit. At a time where filmmakers push the limit and have their movies run longer than two hours, Tarantino proves to be one of 2012’s biggest sinners as this one clocks in at almost three hours and threatens to have as many endings as “The Lord of the Rings: The Return of the King.” Suffice to say, this movie could have been shorter. Perhaps it’s the absence of his longtime editor, the late Sally Menke, who was always good at reigning Tarantino in. Fred Raskin, who has edited the last three “Fast & Furious” movies, was the editor on this one.

Still, there is a lot to appreciate and enjoy about “Django Unchained,” especially the acting. Jamie Foxx has proven to be a terrific actor ever since he held his own opposite Al Pacino in Oliver Stone’s “Any Given Sunday,” and his talent doesn’t waiver in the slightest here. As Django, he gives us a western hero who has earned the right to seek vengeance for what has been done to him, and he is thrilling to watch as he makes this character a shockingly bad ass bounty hunter by the movie’s conclusion.

Christoph Waltz brings a wonderful mirth and a unique liveliness to the exceedingly violent characters he plays, and his role as dentist turned bounty hunter Dr. King Schultz is further proof. It’s fun to see him be so charming to others only to watch him blow them away when the occasion calls for him to do so. Waltz more than earned the Oscar he received for his brilliant performance in “Inglourious Basterds,” and his work in “Django Unchained” proves he is a gifted actor who is here to stay.

Leonardo DiCaprio clearly relishes the opportunity to shed his heartthrob persona to play the charming yet undeniably evil plantation owner Calvin Candie. In a year which has had a large number of unforgettable villains, Calvin is one of the most vicious as his power and wealth has turned him into a raving sociopath who has little hope of finding redemption in his lifetime. DiCaprio is enthralling to watch as he taunts everyone around him with a twisted glee, and he looks to be having loads of fun in playing a character few others would have chosen him to play.

One standout performance which really needs to be acknowledged, however, comes from Samuel L. Jackson, an actor who has played parts both big and small in Tarantino’s movies. Jackson plays Calvin’s head slave Stephen who is the Uncle Tom of “Django Unchained,” and he makes you want to hate his racist, backstabbing character with a passion. Jackson gives a spirited performance as a man who freely betrays the principles he should be standing up for in order to benefit his own desires and keep himself safe in a time where he is anything but.

Kudos also goes to Kerry Washington who plays Django’s kidnapped wife, Broomhilda. Her character suffers many indignities, and Washington makes her pain and fear so vivid to where she leaves you on edge every time she appears onscreen. The moments where she has no dialogue are among her most powerful as her eyes threaten to give away the secrets she is desperate to keep hidden.

Seriously, this movie is filled with actors we know very well, and they keep popping up here when you least expect them to. You have Don Johnson playing plantation owner Spencer ‘Big Daddy’ Bennett, you have Jonah Hill as Randy, a bone-headed KKK member who can’t seem to fix his hood properly, you have Walton Goggins playing an unapologetically vicious cowboy who enjoys the torture he inflicts upon others, and you have Dennis Christopher as the flamboyant Leonide Moguy. If you watch real closely you can also see Zoë Bell, Robert Carradine, Franco Nero, M. C. Gainey, Bruce Dern, Tom Savini, Michael Parks and John Jarratt pop up in roles which would seem small if they were played by anybody else. It’s all proof of how there are no small roles in a Tarantino movie, and all these people are clearly thrilled to be in his company.

Tarantino also has a small role as a mining company employee. While I have no problem defending him as an actor in some movies, his Australian accent could use a bit of work, and that’s being generous.

I’m not sure where I would rate “Django Unchained” in comparison to Tarantino’s other films, but I have to say I enjoyed “Inglourious Basterds” more. This movie’s nearly three-hour length took away from my overall experience, but I can only complain about it so much. When it comes to movies, Tarantino still provides audiences with the kind of enthralling entertainment which never plays it safe.

While it’s far from perfect, “Django Unchained” is a thrillingly alive movie filled with great acting, terrific dialogue and incredibly bloody gunfights Sam Peckinpah would have gotten a kick out of. If you can withstand its excesses and know what you are in for when it comes to a Tarantino movie, you are still bound to have a great time watching it.

* * * ½ out of * * * *