‘Jay and Silent Bob Reboot’ – The Duo is Back for Some High Times

Jay and Silent Bob Reboot poster

2001’s “Jay and Silent Bob Strike Back” was supposed to be the last installment of the View Askewniverse, but time has shown you cannot keep two stoners from New Jersey down. The duo would return in “Clerks II,” and now 13 years later following some serious drug problems and a near fatal heart attack, Jason Mewes and Kevin Smith have come back to play their iconic characters in “Jay and Silent Bob Reboot” which has the two up to the same shenanigans while finding new meaning in their lives. Like the average Kevin Smith film, it is imperfect but still a lot of fun. And unlike “Yoga Hosers,” you do not have to be stoned to enjoy it.

When “Reboot” begins, Jay and Silent Bob have been busted by the police for running an illegal marijuana operation in the old RST video store next to the Quick Stop. In court, they are represented by Brandon (Justin Long) who gets them acquitted upon convincing the judge (Craig Robinson) that the duo’s store was a temporary pop-up store designed to promote an upcoming movie. The case against them is dismissed which is a relief for them and me as I was not in the mood to watch a court movie. Things, however, take a sharp left turn when the same lawyer quickly switches sides and defends a representative of Saban Films which has optioned the comic book series “Bluntman and Chronic.” It turns out the two, when they were signing documents the lawyer said were necessary for representation purposes, inadvertently signed away their naming rights to Saban, and now they can no longer self-identify as Jay and Silent Bob ever again.

After meeting with Brodie Bruce (Jason Lee), Jay and Silent Bob discover Saban is planning a big budget reboot entitled “Bluntman v Chronic” which is being directed by… Well, you’ll see. Once again, our intrepid duo heads out to Hollywood in an effort to stop production in this reboot and reclaim their identities in the process.

Yes, the plot of “Reboot” is the same as “Strikes Back,” and even Smith has stated this new movie is “literally the same fucking movie all over again.” However, to dismiss this latest View Askew production as a lazy retread would be to miss the point. Smith is out to make fun of sequels, remakes and reboots, and he is not lost on the irony that “Reboot” is essentially all three of those things. What results is one of the most meta movies I have seen in some time as he threatens to be cleverer than he is, but it also results in a motion picture which kept me guessing as to what would happen next. Not all the jokes hit, but the ones which do had me laughing uncontrollably, and this includes one such moment which made me as light-headed as the “frosted” scene from “Zack and Miri Make a Porno.”

As you can expect, there are a myriad of cameos to be found throughout “Reboot” as well as a ton of easter eggs. One key cameo comes early when Shannon Elizabeth returns as Justice (a.k.a. Boo Boo Kitty Fuck), Jay’s love interest from “Strike Back.” It turns out Jay did get an answer to his question of “will you fuck me when you get out” as Justice introduces him to their love child, Millennium “Milly” Faulken (Harley Quinn Smith). But because Jay and Justice have been estranged for years to where she has lied to Milly about his whereabouts, she encourages Jay not to reveal to Milly he is her father because, well, you know. Still, Milly finds a way to join him and Silent Bob on their journey to Hollywood.

The moment where Jay discovers he is a dad is what makes this particular View Askew movie stand out as he is forced to confront a new responsibility no one is easily prepared for. It also allows for Jason Mewes to show a vulnerability here we have not seen from previously, and this makes for an especially heartfelt story. In real life, Mewes has become a dad himself, and this among other things is what has kept him from an early death. Seriously, there is real emotion to be found here in “Reboot” even for those who are not Kevin Smith fans in the slightest.

As for the other cameos, not all of them have been spoiled by the trailer, so I will go over the ones you already know about. Chris Hemsworth, in a movie filled with priceless “Thor” puns, plays himself and reminds us of his inspired comic performance in the “Ghostbusters” reboot. Ralph Garman of “The Ralph Report” can rest assured that his cameo as Ted Underhill lasts a lot longer than 17 seconds, but it could have lasted even longer so we too could get his character’s credit card number. Matt Damon’s cameo is so infinitely priceless to where I refuse to ruin it for anyone and, unlike Jimmy Kimmel, I am glad Smith made time for him. You also have Fred Armisen, Rosario Dawson and Kevin’s wife Jennifer Schwalbach making small but very memorable appearances, and be sure to take a look at the name of Craig Robinson’s character as it is like something out of a 1970’s exploitation movie.

But the best cameo here comes from Ben Affleck who returns as “Chasing Amy’s” Holden McNeil. Both Affleck and Smith had been estranged for some time, but even Affleck knew he had to be a part of this flick as Smith was responsible for giving him some of his first leading roles in movies. Plus, Affleck helps to give “Reboot” an even bigger heart as he talks about how children are like our own reboots, and this solidifies the evolution Smith had in mind for the various characters he has created over the years. While “Clerks II” dealt with the responsibilities of being an adult, “Reboot” looks at what becoming a parent does to your overall identity to where everything else in your life becomes secondary. Smith covered this before in “Jersey Girl,” a movie which I think is better than people typically give it credit for, but here it takes on a deeper meaning as both he and Mewes have danced with the Grim Reaper and have come out the other side with infinitely changed perspectives.

When it comes to the cinema of Kevin Smith, his movies are either for you or they are not. I have been a big fan of his since “Clerks” which contained one of my most favorite pieces of dialogue ever (“This job would be great if it weren’t for the fucking customers”), and it is a true joy to see him revisit his View Askew Universe. While he may not be as gifted as Martin Scorsese or Steven Spielberg, Smith still knows how to give us a fun time, and he does just that with “Jay and Silent Bob Reboot.” Even if you are not supposed to be here today, I would like to think this movie will find a way to cheer you up. And yes, be sure to stay through the end credits.

* * * ½ out of * * * *

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‘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 * * * *

Ralph Garman Continues to Walk the Showbiz Beat with ‘The Ralph Report’

Ralph Garman photo

I first became aware of Ralph Garman when he and Kevin Smith hosted a screening of “Red State” at New Beverly Cinema. In the movie, Garman plays Caleb, husband to Sara (Oscar-winner Melissa Leo) who is a shameless member of Five Points Trinity Church, an infinitely homophobic religious sect which puts the WBC to utter shame. While Ralph has no dialogue, he left quite the impression on audiences as film acting requires you to do more with your face than with dialogue.

Caleb Red State

But following the screening, which also served as my introduction to “Hollywood Babble-On,” a podcast I am a die-hard fan of, Ralph demonstrated to the audience a talent he has long since been gifted with, doing voices. Whether he spoke as Al Pacino, Christopher Walken or Sylvester Stallone (“GREEDY AND LAZY!!!”), it was clear he had more than eight voices in his repertoire.

Hollywood Babble On logo

Ralph Garman is an actor and radio personality who has appeared in such movies as “Sharktopus,” “Lavalantula,” “Ted” and “Yoga Hosers” to name a few. On television, he has lent his vocal talents to countless episodes of “Family Guy” and appeared on “The Joe Schmo Show.” But to many, he is best known for his time on “The Kevin & Bean Show,” a Los Angeles morning radio show on KROQ-FM. For almost two decades, he entertained audiences with his impressions and sketches which included him going nuts as Christian Bale and voicing the late Jerry Lewis so well to where he actually ended up talking with Jacques Chirac, the one-time President of France. This, of course, led to a lawsuit, but anyway.

On November 30, 2017, Ralph told audiences he was leaving “The Kevin & Bean Show” after 18 years and was very emotional about departing from a job he was at for a very long time. His exodus was the result of downsizing put forth by KROQ’s new management. To see him get laid off was painful as anyone who has gone through the same thing can understand the shock and sadness of seeing their regular routine upended for the sake of increased profits. It’s like your manager is telling you, “We would love for you to stay. We just don’t want to pay you and we figured you would have a problem with that.”

After interviewing with other radio stations for the possibility of employment, Garman came to realize he no longer wanted to work in an environment where he was told what he could and could not do. So, at the beginning of 2018, he debuted “The Ralph Report,” a weekly podcast which can be found on the membership platform website, Patreon. This has proven to be the perfect place for him to continue his work as he has developed a faithful following of listeners which he lovingly refers to as the “Garmy,” and it is a podcast I very much look forward to listening to Monday through Friday.

The Ralph Report Twitter logo

Wisely, Garman has tailored “The Ralph Report” to have different kinds of segments each day to keep things fresh and to not let it fall into a stagnant rhythm. He continues to “walk the showbiz beat” as he has said for years, looking at the latest news in Hollywood, listing the birthdays of celebrities, and checking out which movies did big business at the box office over the weekend. He also continues to have great fun at the expense of the reality show “The Bachelor” and its various incarnations along with his wife, Kari Watson. Hearing them riff on the latest “Bachelor” episode makes me want to watch it myself, and this is even though I typically live to avoid reality shows in general.

Like any good show, “The Ralph Report” continues to evolve to include new segments such as “Holiday or Holi-nay” in which he looks at each day’s national holidays to determine which one deserves to be celebrated over all the others. It’s constantly astonishing to see just how many holidays can be fit into a single day to where I wonder if there’s any day of the year which does not have one. It also reminds me of a classic episode of “The Simpsons” in which the following dialogue was spoken:

    Mayor Quimby: “Henceforth, this date shall forever be known as Flaming Moe’s Day!”

    Advisor: “Uh, sir, this is already Veterans’ Day.”

    Mayor Quimby: “It can be two things!”

Yes, it can.

Eddie Pence eating a peach

In recent months, Garman has also brought on stand-up comedian Eddie Pence to be his vice host, and the two play off each other very well. You also have to give Pence points for bravery as loyal members of the Garmy continue to pester him about the foods he should like but does not, facts he often gets wrong (“EDDIE!!! Is Wrong”), and those who continue leaving voicemails which start off with “DAMN YOU, EDDIE PENCE!” I think he deserves more respect than people often give him, and this is even though I am annoyed with him describing the sci-fi cult classic “Tron” as, in his words, “boring.” Hey, Eddie, no movie which stars Jeff Bridges, “The Dude” for crying out loud, can ever be considered boring. And yes, that includes “R.I.P.D.”

If I have to choose one segment from “The Ralph Report” I have come to like above all others, it is “Sex U.” Ralph originally did this segment on “The Kevin & Bean Show” until KROQ and the FCC forced the program to drop it. At first, I thought it would be poking fun at sex in general or at the sexually inexperienced, but it has proven to be a very thoughtful segment which deals with sexuality issues in an intelligent way. One episode in particular dealt with adult virgins who still find themselves celibate for varying reasons. This is actually a bigger issue than many even bother to realize. How do I know this? I’m not answering that.

But what’s especially appealing about “The Ralph Report” is that it is hosted by a man who remains a very down-to-earth individual. He moved from Philadelphia to Los Angeles with the intention of becoming a serious actor, and while things for him may not have worked out the way he expected, I think he has ended up exactly where he needs to be. Ralph has a loving wife and daughter, his love of the “Batman” television show from the 1960’s has proven to be infectious, and he strikes me as a celebrity you can have an easy conversation with. Also, he has taken the large step of creating a business for himself through Patreon, and it has proven to be a success which has nowhere to go but up.

Please keep up the great work, Ralph! I look forward to seeing how “The Ralph Report” will evolve from week to week. Kudos to you as well, Eddie, for being an effective vice-host. Just remember Eddie, I love “Tron” and I mean it. Bye.

Click here to visit “The Ralph Report” website and learn more about the podcast and how to subscribe.

 

Denny Tedesco and Company Look Back at ‘The Wrecking Crew’

The Wrecking Crew poster

The Wrecking Crew” joins the company of great documentaries like “Standing in the Shadows of Motown” and “20 Feet from Stardom” as it puts the spotlight on a group of musicians who have been in the background for far too long. The title refers to studio and session musicians based in Los Angeles, California who played anonymously on many famous records back in the 1960’s. During a decade dominated by The Beach Boys, The Mamas & The Papas and The Monkees among others, they were the ones who recorded the music we came to love so much.

“The Wrecking Crew” was directed by Denny Tedesco whose father, Tommy Tedesco, was a legendary guitarist who played with this group of unsung musicians. Tedesco started filming this documentary back in 1996 when he discovered his father was diagnosed with terminal cancer as he wanted to get as much of his father’s musical history on film for the record. From there, it became a celebration of musicians whose work resulted in the creation of many great songs. In addition, Tedesco succeeded in getting many interviews from stars like Cher, Nancy Sinatra, Mickey Dolenz, Glen Campbell and Dick Clark who shared their memories of The Wrecking Crew and of what they brought to the world of music.

A press day for “The Wrecking Crew” was held at The Professional Drum Shop in Hollywood, California, a famous location where George Harrison once bought a pair of drums for Ringo Starr. Joining Tedesco was The Wrecking Crew’s drummer Hal Blaine who came up with the group’s name, and its keyboard player Don Randi. While the documentary started playing at film festivals in 2008, it did not receive a theatrical release until 2015 due to the incredibly difficulty of licensing music for its inclusion here. I asked Tedesco how the documentary evolved from when he started shooting it in 1996 to when he finally got a rough cut together.

Denny Tedesco: Format wise, we started shooting in film, 16mm, because I wanted to be a filmmaker. My wife Susie and myself, she’s a commercial producer, had better access to the film cameras, but we also liked the idea of film. But years later I started to go to video out of necessity, and I realized that was much easier because now what I missed with film is a lot of great interviews. With film, you’ve got to have a whole film crew. When we started cutting I knew the beginning, I knew the middle and I knew the end, but when the first 30 minutes of the film were cut another director saw it and said, “Why are you cutting it like this?” And I said, “What do you mean?” Because I wasn’t gonna be part of this film at all. I was the director and I wanted to keep myself out of it. He said, “You’re crazy not to be a part of this. You have access that none of us have. What you’re cutting, we couldn’t do this. You should go the other way.” And that’s when I decided that I would try and introduce the film as myself and that this is the reason why I started the film; my dad’s passing away and I said this is the story of my father and his extended family, The Wrecking Crew, and that’s how I introduce all of these guys.

Tedesco, Blaine and Randi said all the musicians originally came from jazz backgrounds, but that they eventually found themselves playing rock and roll music as they could make more of a living this way. We get to meet each of these musicians, and one who stands out in particular is Carol Kaye not because she is the only female member of The Wrecking Crew, but because she is a truly gifted bass player. Randi himself described Carol as being very innovative and that she has a great ear for music, and she gave us all a respect for the bass guitar we should have today.

Hal Blaine: I have to make mention right here about Berry Gordy who was actually a neighbor of mine. We used to laugh at the limo that used to pick up this little, tiny child to take him to school every day. Eventually there were people out there saying they did all the Motown records, and we knew that they didn’t. We knew that we had done a couple, three maybe, but there were some people who claimed they did all of them. They will be nameless at this point. Berry Gordy, not very long ago, did an interview and mentioned the fact that the very first hits came out of his garage where he had a little studio, and then he became Twentieth Century Fox’s head of musical engineering. We did the first few (songs) like “Baby Love” and a couple of things and it was an amazing time, and I was shocked to hear Berry Gordy actually do this. Not coming clean, but just to clear up things.

Randi also shared a sobering story about The Funk Brothers, Detroit based musicians who performed the backing music to the majority of Motown recordings from 1959 until 1972 when the company moved to Los Angeles.

Don Randi: When we all went into the Musicians Hall of Fame in Nashville, The Funk Brothers were there and The Wrecking Crew was there. We all went in at the same time and I sat with The Funk Brothers and they had me crying because there weren’t no contracts and they didn’t get the residuals. These guys are old and they don’t have that… Those guys worked their butts off for Berry, and when they first came out on the first date I did for them they went to pay us with cash, and I said, “Wait a second, we don’t do this.” And they said, “Well that’s the way we do it in Detroit. We pay cash.”

Well, hopefully all these musicians will get the respect they deserve when audiences watch “The Wrecking Crew.” It is a great celebration of the music we grew up on and of the artists who created it in the first place. While this documentary might look like it is riding the coattails of similar ones, it stands on its own and sheds a light on a piece of musical history we all need to know more about.

Danny Tedesco: All these other docs, thank God they came out. Thank God they laid the ground work and thank God they were successful. And I’m so happy because there is always another story. I tell people there’s so much information out there. You could interview your parents and you would get a great story and they should. There’s so much knowledge out there and I’m so glad that these different musicians… I’m lucky that I got them in their youth. If I had to do this documentary today, forget it. A lot of guys are gone and memories are maybe not as sharp.

The Wrecking Crew” is now available to own and rent on DVD, Blu-ray, and Digital.

‘Somewhere’ Finds Another Movie Star Lost in Translation

Somewhere movie poster

“I used to think the worst thing in life was to end up all alone. It’s not. The worst thing in life is ending up with people who make you feel all alone.”

-Robin Williams from “World’s Greatest Dad”

“Somewhere” opens with Stephen Dorff’s character of Johnny Marco driving his Ferrari around in circles in some far-off place. It goes on for a while to the point where some in the audience might say, “ENOUGH ALREADY!!!” However, the length of the scene defines the state Johnny’s life. He’s a movie star with adoring fans, and getting women to sleep with him is easy as cake. But aside from being a successful actor, he looks completely lost compared to everyone else around him. Johnny has no direction in life, and emotion looks like a luxury he can’t afford. Even those beautiful female twins pole dancing in his hotel room at the Chateau Marmont can’t excite or arouse him, and they succeed in making him fall asleep more than anything else. We see him surrounded by so many people who profess to adore him, but all they do is make him feel more isolated from anyone and everybody.

But then one morning Johnny wakes up to find his 11-year old daughter Cleo signing the cast on his arm. From there, we see him come alive as he gets to spend time with the one person who loves him in a way no one else can. With his daughter, he gains some idea of adult responsibility, and a better sense of who he is and what he wants.

Now this may make “Somewhere” sound like a sitcom more than a movie as the story features a father getting closer to his daughter which changes his perspective and all, but it is anything but that. This is Sofia Coppola’s first movie since “Marie Antoinette,” and she makes this one anything but sentimental and manipulative. It’s more like she captures moments between Johnny and Cleo more than she films then, and it makes “Somewhere” feel all the more real.

Many have said “Somewhere” feels like a European film in how slowly it moves, and it is never in a rush to get to the next moment. This is correct, but I like the fact it takes its time. Today’s movies are always rushing from one moment to the next to where we never have enough time to digest everything we witnessed. That Sofia Coppola goes against this trend is very welcome, and it makes for a far more involving movie.

Seeing Cleo accompany her father to Italy for a movie premiere could have been clichéd and corny as hell, but seeing them together makes it feel intimate and far more original than any other filmmaker could have captured. Some will say this is autobiographical, but I believe Sofia when she says that it isn’t. Granted, she definitely has an insider’s view of show business being the daughter of Oscar winning director Francis Ford Coppola, but this story feels removed from her own life. Her parents never divorced, and she appears to come from a very loving family. Cleo, on the other hand, is a child of divorce, and we know she will suffer more from it that her parents will.

As played by Elle Fanning, Cleo comes across as far more adult than her father and it’s a kick to see her prepare breakfast for him, showing she is easily more mature. She also makes what looks like a sumptuous Eggs Benedict, and anyone who knows me best is aware I order it whenever my parents are in town and take me out to breakfast. Of course, I’m on a diet now, but seeing her cook it so successfully makes me want to head out to the nearest restaurant which serves breakfast all day.

Fanning has been in the shadow of her older sister Dakota who has given strong performances in movies like Steven Spielberg’s “War of The Worlds” and “The Runaways.” I haven’t seen her in anything since “The Door in The Floor” where she acted opposite Jeff Bridges and Kim Basinger, but she really comes into her own here with this character who is ever so charming. You never catch her acting here. She just inhabits her character with what seems like relative ease, and watching her come to life as Cleo is a joy.

Dorff is an interesting choice to play Johnny Marco. Best known for his roles in “Backbeat,” “Blade,” and “Cecil B. Demented” among other movies, Dorff does seem to have the “bad boy” image, though not necessarily to Charlie Sheen’s level. In “Somewhere,” he manages to find the right balance between being a nice guy and a thoughtless prick to where we empathize with him more than decry his irresponsibly selfish ways. Like Fanning, Dorff becomes his character more than plays him, and he keeps him from becoming a caricature of a movie star. We find ourselves wanting him to do right by his daughter even if he doesn’t always do so.

The other big character in “Somewhere” is the Chateau Marmont, a hotel on Sunset Boulevard in Los Angeles. It has a lot of history involving movie and rock stars, many of whom have lived here for a time. John Belushi famously died of a drug overdose at the hotel, and his death still haunts all those who were the closest to him. The history of the Chateau Marmont hangs over Johnny Marco’s head as we can’t help but wonder if the hotel will suck him up whole.

Granted, this film does share similarities to Sofia’s “Lost in Translation” as it also involves a movie star who seems emotionally dried up and a young girl who is quickly maturing into a woman. But Bill Murray’s character looks lost because he is in a different country. Johnny Marco, however, looks lost in the country he was born in, so imagine how he feels when he travels overseas. His situation feels especially dire because there doesn’t seem to be a place anymore he can truly call home. Directors in general deal with similar themes throughout all their movies, and Sofia is no exception to that. At least with this one, she has a different way of exploring it than before.

If there is anything which bothered me about “Somewhere,” it’s the conclusion is a little too open-ended. I left the theater with questions over what happened from there, and while change is coming for the characters, it’s not entirely clear what direction that change is going to take. Then again, there’s a lot going on we don’t have all the details to. We never learn why Johnny split with Cleo’s mother, and we are only left with an idea of how it happened. Looking into Cleo’s eyes, she may have a better idea than anybody else of what went down.

Regardless, “Somewhere” is a well thought out film which shows Sofia Coppola to be an excellent director confident in her abilities behind the camera. Looking back, I think it will have more of an effect long after you’ve seen it as it’s not the kind of movie which leaves your consciousness all that quickly.

* * * ½ out of * * * *

Paul Verhoeven and Company Revisit ‘Total Recall’ in Hollywood

Total Recall movie poster

On Friday, August 24, 2012, Dutch filmmaker Paul Verhoeven dropped by the Egyptian Theatre in Hollywood where American Cinematheque screened a 70mm print of his 1990 movie “Total Recall.” Joining Verhoeven for a Q&A after the movie was two of its screenwriters, Ronald Shusett and Gary Goldman. They discussed the rigors of making the movie, and of how the script eventually made its way out of development hell.

As we all know by now, “Total Recall” is loosely based on the Philip K. Dick short story “We Can Remember It for You Wholesale.” Shusett said he and the late Dan O’Bannon, writer of “Dark Star” and “Alien,” bought the rights to the story back in 1974, and they completed their first draft in 1981. From there it was set to be made into a movie, but the project kept falling apart time and time again. Filmmakers like Bruce Beresford and David Cronenberg had worked on it for a long time but eventually pulled out due to creative differences or studios canceling the project because of its enormous budget.

“Everything kept falling through over and over again,” Shusett said. “Sets were built, but then the project kept getting canceled because it was too expensive. Back in 1990, this was considered to be the most expensive movie ever made. I wanted to keep all those sets that were built from being torn down, and I asked one studio executive how I could save them. He responded that I should change the movie’s name to ‘Partial Recall.’”

Verhoeven got involved in “Total Recall” because Arnold Schwarzenegger had picked him to direct after seeing “Robocop.” Schwarzenegger had actually been interested in doing the movie for a long time and had encouraged Carolco Pictures producer Mario Kassar to buy the rights to it from Dino De Laurentis whose film company had gone into bankruptcy. The movie had already gone through many drafts, and it took one specific scene to pique Verhoeven’s interest:

“I came to the scene where Dr. Edgemar (played by Roy Brocksmith) visits Arnold’s character on Mars and tells him that he’s not really here,” Verhoeven said. “In that moment you are not sure if what you’re seeing is real or a dream, and that got me really excited because none of the movies I had made in Europe ever had a scene like that. What Edgemar tells Arnold is that what he is experiencing is not true, so we had to prove it wasn’t true again.”

Working with Carolco Pictures on “Total Recall” was “paradise,” Verhoeven said, as they never forced anything on the filmmaker other than actors they hand-picked to star in their movies. He also said the beauty of Carolco is that they never subjected him or the movie to test screenings. Verhoeven went on to make “Basic Instinct” and “Showgirls” for Carolco, and then the gigantic flop that was “Cutthroat Island” ended up forcing the company into bankruptcy.

Schwarzenegger was set to be the star of “Total Recall” no matter who directed it, and Verhoeven said he was perfectly fine with that. Changes in the story had to be made though as his character was originally an accountant. Verhoeven and the screenwriters ended up changing his profession to that of a construction worker as they all agreed you could not go around Arnold.

Verhoeven also pointed out how having Schwarzenegger in “Total Recall” made the movie “very light” which was great because, as put it, “the straight way of telling the story would not have worked.” This has been further proved by Len Wiseman’s remake of the movie which even Verhoeven admitted “wasn’t good.”

The main problem with adapting any Philip K. Dick story to the silver screen is that they are basically told in two acts, and finding a third act proved to be very difficult.

“I got really scared because there had already been forty drafts written, and we could never seem to figure the third act out,” Verhoeven said. “It eventually came down to Hauser (Schwarzenegger’s secret agent character) always being the bad guy as it gave us somewhere to go.”

One audience member asked Verhoeven how Sharon Stone got cast in “Total Recall:”

“Sharon came in the first day of casting, and after a half hour I was convinced she would be perfect as Lori,” Verhoeven said. “Once we were filming the movie, however, I came to realize what she could do as an actress. After one fight scene where she almost kills Rachel Ticotin’s character and Arnold aims a gun right at her, she quickly changes moods in what seemed like a heartbeat. It was Sharon’s final scene before her character was shot that made me want to choose her for ‘Basic Instinct.’”

Goldman told the audience movies like “The Matrix” and “Inception” wouldn’t have happened without Verhoeven’s pushing the idea of the dream in “Total Recall.” The audience applauded this sentiment loudly, and the movie still holds up well more than twenty years after its release. It’s a shame the producers of the recent remake failed to realize what made the original so good as one of them described Verhoeven’s movie as being “kitsch.” That producer is now eating their own words in the wake of the remake’s critical and commercial disappointment.

Argo

Argo movie poster

After the one-two punch of “Gone Baby Gone” and “The Town,” Ben Affleck should not have to prove what a great movie director he is. But for those who, for some utterly bizarre reason, still believe they need further evidence to support this conclusion, I give you “Argo.” His third movie as a director tells the story of how CIA specialist Tony Mendez went about trying to extract six U.S. diplomats out of Iran during the 1979 hostage crisis. It proves to be a very intense experience watching this movie, and I also got a huge kick over how it skewers Hollywood and the business of making movies as well.

I loved how Affleck really went out of his way to make “Argo” look like a 70’s movie. He even included the old Warner Brothers logo (referred to as the “Big W” logo) which preceded the studio’s movies from 1972 to 1984. I’ve really missed this logo for the longest time.

Anyway, when Iranian revolutionaries ended up storming the U.S. embassy in Tehran, six diplomats manage to evade capture and find refuge in the home of Canadian ambassador Ken Taylor (Victor Garber). Meanwhile, back in the United States, the State Department has learned of the escapees and their predicament, and they start looking for ways to get them out of Iran. It is Mendez who comes up with the idea, after watching “Battle for the Planet of the Apes” on television, to create a cover story of how the six are actually filmmakers from Canada who are scouting locations for a fake sci-fi movie called Argo. This looks to be one of those “so bad it’s good” kind of movies, and it would have been fun to watch for all the wrong reasons had it ever been made.

The scenes where Mendez goes to Hollywood are among my favorites in “Argo” as he works with movie business veterans who are keenly aware that lying to others is part of their job description. John Goodman and Alan Arkin are priceless as make-up artist John Chambers and film producer Lester Siegel, and they are given great pieces of dialogue to speak throughout. The lines Arkin is given are especially biting:

“You’re worried about the Ayatollah? Try the WGA!”

The tension is then ratcheted up tremendously when Mendez heads over to Iran to prep those six diplomats on how to get out of the country alive. You feel their collective anxiety as they become fully aware of how one little slip up will get them quickly executed in public view, and you are with them every step of the way as the walls continue to close in on them. Emotionally speaking, “Argo” is the first movie I have found myself crying after in a long time, and the tears I cried were from sheer relief.

“Argo” is based on a true story and, while this remains a serious pet peeve of mine, this is one which needed to be told. It wasn’t until 1997 that this rescue operation was declassified for all the world to know about, and it speaks a lot about how two countries can come together in a tough situation (in this case, the U.S. and Canada). Yes, portions of the story were fictionalized for dramatic purposes, but that’s always the case so just get over it.

Affleck casts a lot of great acting veterans in “Argo,” and kudos to him for doing so. I’ve already mentioned Goodman and Arkin, but you will also find Bryan Cranston, Kyle Chandler and Philip Baker Hall doing terrific work here as well. As for the diplomats, they are played by such actors as Clea DuVall and Tate Donovan among others, and they all are uniformly excellent.

In addition to directing this movie, Affleck also stars as Mendez and gives a particularly understated performance. I know we all love to pick on him as an actor, but he’s a better one than we give him credit for. Not once does Affleck try to steal the show from the actors around him, and his work is commendable as acting and directing a movie at the same time can be a real pain in the ass.

“Argo” has more than earned its place among the best movies of 2012, and it makes clear that Affleck’s success as a director is no fluke. This is a guy who has seen the heights of success and the utter embarrassment of failure, and he has come out the other side of it all proving he is a great talent whether he’s in front of or behind the camera.

Be sure to stay through the end credits as well as there is information you will need to hear about this true story.

* * * * out of * * * *

No, I Haven’t Seen It Until Now: La La Land

La La Land movie poster

I cannot believe how ridiculously long it took me to watch this movie which won Best Picture for about three or four minutes at this year’s Oscars. “La La Land” is Damien Chazelle’s eagerly awaited follow-up to “Whiplash,” my favorite movie of 2014. Due to not being invited to any press screenings for it, working to pay my bills, buying Christmas presents for my family and working to pay them off as well, taking care of the rent and my overall sanity, I could never make the time to see it. They say life happens when you’re busy making plans, but I’m too busy to even make any kind of plan.

Well, I finally had the opportunity to check out “La La Land” and it is, in a word, superb. From its opening sequence all the way to the end titles, it is a wonderful homage to the movie musicals of the past, and it serves as a dedication to all the dreamers out there who dare to make their passions their livelihood and are willing to make fools of themselves in the process. Just like Akira Kurosawa once said, “In order to survive in an insane world, you have to be crazy.”

The movie starts off on a typical sunny Los Angeles day on the LA freeway of your choice with cars at a complete standstill. It could be the 110, the 105 or the 405 we are watching, but it doesn’t matter because they all turn into used car lots once rush hour hits. Next thing you know, everyone is bursting into the song “Another Day of Sun,” and it’s Chazelle’s way of showing you how exhilarating “La La Land” will be to watch. It starts off with an infectious energy, and it never loses it once the song is over.

We are introduced to Mia Dolan (Emma Stone), an aspiring actress who auditions constantly, shares an apartment with several female roommates, and works as a barista at a café located on a studio lot. She does the best she can at auditions, but some of them last only a few seconds before she is thanked for her time and escorted to the door. Soon afterward, we meet Sebastian Wilder (Ryan Gosling), an aspiring jazz musician who yearns to see this art form live on instead of being ruined by current forms which manipulate into something very artificial. Eventually, we know these two will hook up.

Like the most romantic of couples, Mia and Sebastian do not get off to the best start as she gives him the finger after he honks his car horn for an insidiously long time (I hate it when people do that) at her when she keeps him waiting on the freeway. Even after Mia walks into a jazz bar upon hearing Sebastian play an impassioned improvisational riff while being forced to play classic Christmas songs, he is quick to brush her off as he heads for the door. But the two eventually consummate their budding romance after a screening of “Rebel Without a Cause,” and from there we watch as their romance goes through exhilarating heights and emotionally draining lows.

Watching “La La Land” reminded me of how singing can be the most emotionally challenging art of all as it forces you to be open in a way we typically are not in everyday life. You can be a brilliant singer, but all the technique you bring to it won’t mean a thing if you don’t bring any real feeling to the song. When it comes to many movie musicals, they can feel emotionally manipulative or overly sentimental to where you find yourself cringing like you did when Darth Vader yelled out “nooooo” in “Star Wars Episode III: Revenge of the Sith.” But every single moment in “La La Land” feels earned as the cast makes it all feel truly genuine, and I never came out of this movie feeling like I was played like a piano. Everything in this movie felt earned, and I was enamored by everything I witnessed.

Also, Chazelle gets everything about Los Angeles down perfectly. Whether it’s the standstill traffic on the freeways, the street signs we never pay attention to until it’s too late, the incredible view of the city from the Hollywood Hills, the Griffith Observatory, the single screen movie theaters or even those auditions where an assistant just has to walk into the room while you are doing your thing for the casting directors, he gets at all the things a struggling artist is forced to endure while fighting against stiff odds. This is not the kind of musical which takes place in some fantastical world, but instead in a reality we all know and understand.

Of course, to many, Los Angeles is still a fantastical place, and it certainly shows here thanks to the beautiful cinematography of Linus Sandgren. “La La Land” almost looks like something from the 1950’s with Sandgren’s use of many beautiful colors, and we get caught up in the magic this crazy city has to offer after all these years. I have lived in Los Angeles for a number of years now, and I can tell you honestly that it is not as glamorous as it is often portrayed in the media. Still, it is a place for creative minds to come up with something extraordinary, and this movie reminded me of this.

Emma Stone is simply sublime as the aspiring Mia as she captures all the heartache, joy and persistence any actor has experienced in pursuit of a seemingly impossible dream. Her face is luminous and can say so much without her having to say single a word at times, and she makes you feel Mia’s every emotion as she suffers every triumph and career setback. But her biggest show-stopping moment comes when she sings the song “Audition (The Fools Who Dream)” in which the camera stays on her for several minutes. It’s an incredibly captivating moment and makes me see why she could have won an Oscar over Isabelle Huppert who was nominated for “Elle.”

As for Ryan Gosling, he still remains a sexy son of a bitch whom the ladies swoon over every single minute of every single day, and I guess I just have to live with that. But seriously, he perfectly embodies the dreamer who is forced to compromise his passion for the sake of survival, and he communicates the aching confusion Sebastian feels as he desperately tries to rationalize his choices as a means of convincing himself that he is not selling out. Whether you think Sebastian is selling out or not, Gosling makes you sympathize with him as we come to wonder what we have done to convince ourselves of the actions we take in life.

Yes, I think “La La Land” more than lived up to the hype, and it establishes Damien Chazelle as one of the most promising film directors working today. It could have easily been a silly trifle of a musical, but Chazelle’s heart and soul shine through every frame as he pays tributes to all those who dared to dream and constantly risked failure at every turn. Like the best movies, it stays with you long after it has ended, and it takes you on a wondrous journey I feel I haven’t been on in a very, very long time.

* * * * out of * * * *

Kirk Douglas Looks Back at ‘Lonely Are The Brave’

lonely-are-the-brave-poster

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.

Knight of Cups

knight-of-cups-poster

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 * * * *