Soundtrack Review: Ennio Morricone’s Score to ‘The Untouchables’

WRITER’S NOTE: I wrote this review back in 2012 when this limited edition of the soundtrack was released. This edition has since sold out, but it can be found on websites such as eBay, Amazon and Discogs. Of course, this edition does not come at a cheap price, so be sure to do your research. I am presenting this review here out of respect for the great Ennio Morricone who passed away on July 6, 2020 at the age of 91 years old.

Ennio Morricone’s film score for Brian DePalma’s “The Untouchables” remains one of my favorites of his from the 1980’s. It covers the gamut of musical themes from victory to tragedy, and it captures the corruptness of the city our heroic characters played by Kevin Costner, Sean Connery, Andy Garcia and Charles Martin Smith have to fight against. Now, La La Land Records has put together a long-awaited remastered edition of this soundtrack which has Morricone’s music sounding better than ever. It features two discs, has over two hours of music and contains an informative booklet written by Jeff Bond, all of which makes for a release fans of Morricone will be pleased to add to their collection.

The first disc contains the original motion picture score for “The Untouchables,” and the tracks are sequenced in the order in which they appeared. This was not the case when the original soundtrack was released in 1987. That version started with the movie’s end title for some odd reason. There’s still no beating “The Strength of the Righteous” which gets the movie off to a thrilling start, and it’s one of those pieces of film music I never get sick of listening to. “Al Capone” perfectly illustrates the obscene wealth and greedy nature of a man who is more than willing to use violent means to achieve his goals.

Listening to this soundtrack for “The Untouchables” also reminded me of how beautiful Morricone’s music is. He captures the idyllic home life of Elliot Ness (played by Kevin Costner) and his family so well to where it makes you wonder if your own family life can ever compare. Other tracks like “Four Friends” help to elevate the tragedies the main characters suffer. I remember watching “The Untouchables” when it came out on VHS, and it was the first film I saw where the heroes do not make it to the end with a pulse. This shocked and saddened me, and Morricone’s “Four Friends” emphasizes not only the loss of life but of what that life meant to those who remember him dearly. Some of my other favorite tracks include “Waiting at the Border” which has Ness and company waiting in Canada for the arrival of Capone’s liquor shipment, and I love how the track starts soft and continues to build dramatically throughout. There’s “Courthouse Chase” which adds a lot to the big action scene between Ness and Frank Nitti (played by Billy Drago). The end title of “The Untouchables” is also one of those thrilling pieces of music as it celebrates the victory of those characters who scored one for justice, and listening to it always raises my spirits.

There is also no forgetting Morricone’s masterpiece of this score which is “Machine Gun Lullaby,” and it shows his brilliance in how he escalates the suspense and tension of certain scenes in DePalma’s movie. The first disc also contains tracks of Morricone’s which were not used, most of which are short transitional cues. The second disc contains the remastered version of the original soundtrack release from A&M Records, and the order of the tracks remains the same. Hearing it again might seem redundant for those who spent an hour listening to the first disc, but some still hold the original release of “The Untouchables” as sacred so it is here for them to enjoy with a better sound quality than ever before. The second disc also has several bonus tracks which include different versions of “Machine Gun Lullaby” and “On The Rooftops” among others. There’s also the “Love Theme from The Untouchables” which is sung by Randy Edelman and did not make it into the movie.

Jeff Bond, who has written informative booklets for many special edition soundtrack releases, writes us another great one for this release of “The Untouchables” which is entitled “The Strength of the Righteous and the Triumph of the Police.” Most of Bond’s booklets are usually written in two halves; one half details the making of a movie, and the other half details how its soundtrack came together. With “The Untouchables,” however, Bond is more interested in focusing on Morricone and the working relationship he had with DePalma. Bond even takes the time to write about every single track on each disc and the specific instruments which stand out and help to define certain characters and scenes.

“The Untouchables” actually marked the first collaboration between Morricone and DePalma, and the composer came to work with DePalma again on “Casualties of War” and “Mission to Mars.” In the booklet, Bond quotes from an interview with Morricone in which he describes DePalma as being “a great film director” and “wonderful to work with.”

“At a human level, too, he is a wonderful person, even if he gives the appearance of being a very reserved sort,” Morricone said of DePalma. “Behind that gruff exterior is a very kind soul.”

Morricone has still never won an Oscar for any of his scores, but he did deservedly receive one for lifetime achievement in 2007. Then again, he does not need one to prove to the world what a prolific film composer he is, and his output of work over the decades is amazing. “The Untouchables” remains one of my favorite film scores of his and it takes listeners through a wave of different emotions, some sad and others which make you happy and fulfilled.

La La Land Records has limited this special edition of “The Untouchables” to only 3500 copies, so be sure to get yours soon before it sells out. They have once again put together a great release of a truly unforgettable film score.

ADDITIONAL WRITER’S NOTE: Morricone finally won the Best Original Score Oscar which had long eluded him in 2016 for his work on Quentin Tarantino’s “The Hateful Eight.” To say this was deserved is to point out the bleeding obvious.

Rest in peace Ennio.

Alfred Hitchcock’s ‘Psycho’ – 60 Years Later and Shower Curtain Sales Have Still Not Recovered

I did not become aware of Alfred Hitchcock’s “Psycho” until its first sequel, “Psycho II,” was released back in 1983, 23 years after the original. Of course, I didn’t watch this sequel at the time as I was just a kid, but I do remember its movie trailers and the title cracking up on the big screen as it played before the feature presentation of “Return of the Jedi.” This image really freaked me out, and it was just as well I didn’t see the classic film which inspired it until many years later. When I rented and watched it on VHS with my older brother, we did not  see what the big deal was as we had long since been spoiled by the “Friday the 13th” and “Nightmare on Elm Street” movies with all the blood and gore a hormonal teenager could ever want or endure.

Well, it turns out watching it once was not nearly enough. Whether or not you think “Psycho” is Hitchcock’s best movie ever, it is often the one he is remembered best for making. After 60 years, it remains a great study of how a director can maintain suspense throughout the entire running time of a movie, and of a master playing the audience all the way up to the last frame. This becomes even more apparent when you watch it for a second and third time. Hitchcock puts you into the mindset of Marion Crane as she drives out of town after embezzling some money, and then he completely changes the dynamic of the story once Norman Bates arrives.

With “Psycho” now at its 60th Anniversary, we have another chance to go behind the scenes to see how this horror classic was made. It also represents another opportunity for Universal Pictures to release a new digital edition of the movie so they can fleece a few more dollars from our wallets. There has already been a Blu-ray release which made it look exquisite, and there has got to be a 4K Ultra HD version at some point. Anyway, looking back at the history of this classic proved to be one of the most interesting research projects I have taken on in years as there is much to be said about what went on behind the scenes.

“Psycho” originated as a novel written by Robert Bloch which itself was based on Wisconsin serial killer Ed Gein, a man whose horrific exploits would inspire many horror movies to come. Hitchcock acquired the film rights through his agent for $9,000, and he chose to film it after two projects he was working on for Paramount Pictures, “Flamingo Feather” and “No Bail for The Judge,” fell through. But Paramount did not want to help Hitchcock out on this one either as they were quoted as saying they found Bloch’s novel “too repulsive” and “impossible for films.” The executives refused to finance the production, and they even went as far as telling Hitchcock their soundstages were unavailable because they were being used for other projects. Of course, this proved to be a bold-faced lie as their production schedule was already in a slump at the time.

Undaunted, Hitchcock was still determined to bring “Psycho” to the silver screen, and he even offered to defer his normal director’s fee of $250,000 in exchange for 60% ownership of the movie’s negative. Still, executives would not grant him the financing he desired, so he continued to go through several different cost-cutting measures before getting a budget of no more than $1 million to make the movie his own way. Hitchcock had planned to make the film fast and cheap anyway, and he employed the crew members of his television series “Alfred Hitchcock Presents” who were already skilled at doing the same. He also succeeded in casting proven stars Janet Leigh and Anthony Perkins at a quarter of their usual salaries.

Bringing down the budget also meant shooting the film in black and white, but this was fine with Hitchcock as he wanted to film it that way as to make the shower scene come across as less gory, and he was also a big fan of “Les Diabolique” which was also shot in black and white.

Like “Psycho,” “Les Diabolique” was remade many years later. Unlike the originals, both were filmed in color. Even more unlike the originals, they received mercilessly scathing reviews upon their separate releases.

In filming “Psycho,” Hitchcock started off by making it as objective an experience as possible, and we feel what Marion goes through as the voices in her head fill her with guilt and doubt over what she has done. To help emphasize this effect, Hitchcock shot much of the movie with 50 mm lenses on 35 mm cameras. By doing this, the camera was said to mimic normal human vision. As a result, you are not just watching the movie, you are experiencing it. This even goes on after Marion has gone and the story turns its focus to Norman Bates. When he pushes her car into a nearby swamp, you share in his anxiety when it does not completely sink. That’s the thing; like Norman, you want the car to sink, and it makes one feel like a voyeur just as Hitchcock intended.

Then, of course, you have the famous shower scene, and after all these years it remains one of the most talked about and heavily dissected moments in cinema history. I am sure you all know the details regarding it: it was shot over six days from 77 different camera angles, and the scene features around 50 cuts in the three minutes which it lasts. Not much is shown as you never see the knife penetrating Marion’s flesh, and there is no gore other than the blood (chocolate syrup was used) going down the drain along with the water. Indeed, it is what you do not see which makes the scene feel so violent. Like Spielberg later did with “Jaws,” Hitchcock dared the audience to use their imagination in regards to what they thought they saw here. This is one of many reasons why this scene has stood the test of time, and it was also the first time a director killed off his leading lady in the middle of a movie. Back in 1960, audience members could not help but wonder where things could possibly go from there, and shower curtain sales have never been the same since.

I also cannot go on without mentioning the infamous score composed by the great Bernard Herrmann, and it remains one of the scariest pieces of music ever applied to a motion picture. Throughout his career, Hermann proved brilliant in composing film scores which really captured the psychology of the characters. This proves to be as true about “Psycho’s” score as it was with Hermann’s work on “Cape Fear” and “Taxi Driver.” It was a surprise to learn how this score almost didn’t come about as Herrmann balked at Hitchcock’s request to take the job on a reduced salary. Somehow though, Herrmann agreed to the terms and ended up writing music for a string orchestra as opposed to a full symphony which would have included brass and woodwind instruments. This is now clearly seen as a masterstroke on his part as the screeching of violins captures the sheer terror which overtakes Marion and the audience during the infamous shower scene.

Although “Psycho” is now recognized today as a classic, it actually received mixed reviews upon its release. Some admired the buildup of tension, but others questioned the psychological elements as being less effective. It even made one critic, C. A. Lejeune, so offended to where she walked out of the movie before it was even over, and she soon after resigned from her position as film critic for The Observer. Looks like Norman’s mother did not just claim victims onscreen!

When you look at the history of cinema, it is important to keep in mind how movies we see these days as classic were not necessarily treated this way upon their original release. It is over the passing of time where movies get re-evaluated or seen in a different light, and none can ever truly be perfect (although some do come very close to it). “Psycho” was a game changer as it came about during the Motion Picture Production Code which was heavy in its censorship of violence and sex in American films. With “Psycho,” Hitchcock flirted with showing nudity as well as gore, and this later opened up doors for filmmakers to exploit these elements with far more detail. Without “Psycho,” there may never have been a “Halloween” which by itself inadvertently sparked a whole wave of slasher movies. And without “Halloween,” there certainly would not have been a “Friday the 13th” as Jason Voorhees, like Norman Bates, also had serious mommy issues.

The cultural impact of “Psycho” lasts on to this very day. There are only so many movies which could have a sequel made to it several decades later. “Psycho III” followed a few years later, and a prequel came about because some just thought it would be a good idea to show how Norman Bates got to be the shy psycho we know him to be. There was even a failed television pilot called “Bates Motel” which starred Bud Cort as Alex West, an asylum inmate who befriends Norman and later inherits the motel and the house where mother lived (Anthony Perkins wanted nothing to do with that one). It also inspired a shot-for-shot remake by Gus Van Sant which seemed almost every bit as odd as Norman himself. The only purpose of it seemed to be proof of how remakes will never be able to recapture what made the original so good. But if they make money, the studios will clearly not mind the critical bashing even if it proves to be justified.

Television would later take another shot at the “Psycho” franchise with another version of “Bates Motel,” and this one starred Freddie Highmore as Norman Bates and Vera Farmiga as his mother. This version ended up lasting five seasons and proved to be very compelling as our fascination with the dark side of human nature is always stronger than we ever bother to realize. While some may have said enough already with “Psycho,” this show proved there was more life to it than we cared to initially realized.

Even today, you cannot hear screeching violins and not think of “Psycho.” Filmmakers reference it today like Wes Craven did in “Scream,” and there are dozens of movies out there which have done the same. That shower scene has been spoofed lord only knows how many times, my favorite being on “The Simpsons” where Maggie ended up attacking Homer with a mallet after watching one Itchy & Scratchy cartoon. Another great one came about during one of Billy Crystal’s Oscar montages where he was in the shower and ends up getting accosted by Kevin Spacey who plays his “American Beauty” character of Lester Burnham. Turns out it was not the same shower Marion got stabbed in, but instead the one where Lester often experienced the highlight of his day.

Leigh never looked at taking showers the same way again, and it would be ages before she ever took one. Perkins would forever be typecast in roles similar to Norman Bates, but he said he would still have done “Psycho” even if he knew this would be the case. Many filmmakers (Brian DePalma especially) have tried to use the tricks Hitchcock employed in this and his other films to varying degrees of success. Still, there is no topping what Hitchcock did with this classic 1960 movie, and it remains the one so many other suspense and horror movies are judged by. Hitchcock’s powers of manipulation remain very hard to duplicate after all these years, and this illustrates what he meant when he was quoted as saying, “I enjoy playing the audience like a piano.”

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One From Jason Reitman: Up in The Air

A life without many, if any, emotional attachments seems like an appealing lifestyle to many, especially for those who are ever so career minded. To not have to worry about kids because you don’t have any, and to not get involved in serious relationships with others leaves you with a lot of room to breathe in. But what happens when something comes along to shatter the façade of this lifestyle? Will you be able to handle it without reverting to your old ways? Will it make you realize just how lonely a person you truly are to where you have no idea how to alleviate this permanent state of solitude you are stuck in? One thing’s for sure, this kind of life is not meant to last forever, and eventually you will be greeted with an unexpected awakening. Hugh Grant got to play a character who lived this kind of like in “About A Boy,” and George Clooney came to play a similar one in Jason Reitman’s brilliant film, “Up in The Air.”

Based on the 2001 novel by Walter Kim, Clooney stars as Ryan Bingham, a man whose job is to travel all over the country to corporate offices to lay off employees. Companies hire people like Ryan so that their bosses can easily squirm their way out of this depressing part of the job (pussies). What he does feels a bit similar to the sad duty military officers or police officers have in telling families their husbands, wives or long-lost relatives have died. While Ryan is not informing anyone of a dead family member, the people on the receiving end don’t really react all much differently. Still, he sees his job as a service as he tries to make them see this is not the end, but simply the beginning of a new life. In addition, he also conducts conferences where he talks about “emptying the backpack” of attachments and things you don’t really need. Hence, the backpack is clearly symbolic of his life at this point for there is not much of anything inside of it.

The perks of this unappealing job? Well, it does allow him to travel on airplanes for over 300 days out of the year. He does have a puny one-bedroom apartment back in Omaha, Nebraska, but he is barely there. For him, the airports and airplanes feel like his real home, so his address truly is up in the air. Still, he has the same problem those seriously addicted to social media have; a serious fear of human contact. They say they don’t want any personal attachments in life, but it speaks of some deeper fear they may not be aware of consciously.

Clooney gave one of his very best performances in this film, and he has always been great at playing the world-weary man who has seen just about everything. From a distance, this almost seems like a walk in the park for him as this movie’s trailers have him flashing that famous grin of his every five minutes. But he brings a real depth to a really well written character, and despite the fact he plays a man none of us would want to meet ever, he makes Ryan Bingham likable and very sympathetic.

Ryan ends up capturing the attention of another corporate employee who spends more time in the air than in the office, Alex Goran. She is played by Vera Farmiga, and she is as great in the role as she is seriously sexy! The first scene between these two reminded me so much of the scene in “Jaws” where Robert Shaw and Richard Dreyfuss compare their scars as they show off all these executive cards and credit cards which they have earned from travelling so much and for staying in the same hotels. The chemistry between Clooney and Farmiga is instant, and it sells us on their budding relationship almost immediately. You want their characters to end up together as they are essentially the same person, although Alex puts it in another way:

“I’m like you with a vagina.”

Of course, there is a third wheel to balance things and give a little more perspective on the story. That third wheel is Natalie Keener, a recent graduate from Cornell University who has a lot of smarts, but who also has much to learn about the real world. Natalie is played by Anna Kendrick, and she is wonderful here. Natalie is here to prepare Bingham and his colleagues for a new way of firing employees; they will do it online from the comfort of their own offices. So basically, it makes a depressing piece of business all the colder. It also threatens Ryan’s way of life as he lives to be on a plane instead of his tiny dump of an apartment, and while there will always be change, his resistance to this change is very understandable.

With this development comes the road movie part as Ryan takes Natalie to different cities across the country to show her how he does his job, and of how the use of computers will detract from it and his frequent flier miles rewards. Kendrick does brilliant work in taking Natalie from being confident yet naïve to vulnerable and sad. None of the education she got could ever have prepared her for the unpredictability of a job which is never easy no matter how it’s done. Seeing her address a corporate meeting to her doing a drunken karaoke rendition of Cyndi Lauper’s “Time After Time” should give you an idea of the range she has as an actress.

Watching Clooney instruct Kendrick on how to pack her suitcase and leave stuff out she needs is hilarious as it reminds me of my parents constantly begging me to put everything in one suitcase when traveling. This way, I won’t have to check any luggage in. I don’t know about you, but I get so sick and tired of hauling a suitcase all over the place when I have my messenger bag to worry about already. Who packed this suitcase anyway? Okay, I’m getting off track here…

“Up in The Air,” was Jason Reitman’s third film and, along with “Juno” and “Thank You for Smoking,” he showed us how infinitely talented he is as a director. He even makes this movie even more authentic to those times of high unemployment by casting real people who have lost their jobs. This brings a lot more reality to the movie and reminds us of how unfair life can be despite our individual efforts to do the best job possible. Reitman also does not sell out the movie with a false ending where everything is wrapped up neatly. In fact, it proves to be far more devastating than I ever could have expected.

Reitman also populates the movie with other great actors who make as strong an imprint on the film as the leads do. Jason Bateman plays Bingham’s boss, Craig Gregory, and this role is the flipside of the manager he played in “Extract.” It turns out Bateman can be charming in one role and utterly smarmy in another with no problem. Amy Morton is also really good as Ryan’s estranged sister Kara, a woman suffering through her own midlife crises which her brother makes look like he is getting through it with no problem. Melanie Lynskey (great in both “The Informant!” and “Away We Go“) is a wonderful presence as Julie, Ryan’s younger sister who is about to get married. I was also surprised to see Danny McBride here in a slightly more dramatic role as Julie’s soon-to-be husband, Jim Miller. McBride definitely has some funny moments, but he really sells himself as a man who is not sure if he’s doing the right thing or not.

I also have to give a lot of credit to some actors who make the most of their respective cameos. Zach Galifianakis gives this movie one of its funniest moments as Steve, one of many fired employees whom Ryan has had to face. Looking at the things his character could have done had he been fired by his cowardly boss instead is hysterical. Then you have J.K. Simmons who gives his suddenly jobless character of Bob a morbid sense of humor as he manages to contain himself in his understandably pissed off state. When Ryan ends up making Bob see this is not an end but a beginning, Simmons takes this character from being depressed to being aroused with possibilities he thought were long since lost to him. Simmons is onscreen for only a couple of minutes, but he infuses his role with a dry sense of humor which makes his performance especially memorable.

Another thing I really loved about “Up in The Air” is how wonderfully complex the characters are, and this includes the ones who are only onscreen for a few minutes. We may have the stereotypical traits of each character nailed into our heads, but they keep revealing different parts of their personalities in ways which truly surprised me. Once we have these characters figured out, another layer is revealed which affects their relationships with one another quite deeply. I would love it if more movies allowed to have more multi-faceted characters in them instead of just succumbing to one-dimensional freaks who exist to annoy the hell out of you.

“Up in The Air” was far and away one of my favorite films of 2009, and it is interesting to watch it again years later during a time of a frightening global pandemic. On top of many worried about their health and toilet paper, this pandemic has left a record number of Americans out of work. This film was quick to remind me of what it was to suddenly lose a job and how to move on from there. It also has a cameo from Young M.C. who sings his hit song “Bust a Move.” He certainly has gained a lot of weight since the 1990’s. Then again, I should talk (sigh)…

* * * * out of * * * *

Phil Joanou on How He Came to Direct U2: Rattle and Hum

WRITER’S NOTE: This article is about a screening which took place back in 2012.

Filmmaker Phil Joanou was at New Beverly Cinema when the theatre showed two of his films: “Three O’Clock High” and the U2 documentary “Rattle and Hum.” While most of the evening was spent talking about “Three O’Clock High” as it had arrived at its 25th anniversary, Joanou did take some time to talk about how he was hired by U2 to direct their first music documentary (or rockumentary if you will). The story ended up becoming one of the strangest and funniest ones told on this evening.

Joanou was busy doing post-production on “Three O’Clock High” when his agent got him a meeting with U2 on the day before the band had to leave America for Ireland. They had already interviewed a number of directors already, but Joanou said they hit it off to where they asked him, “can you come to Dublin tomorrow?” He said sure, but he had to call the producer of “Three O’Clock High” to explain why he had to leave post-production on a little early. The producer apparently was not too happy about this sudden opportunity, but Joanou got to go anyway.

Once in Dublin, Joanou said U2 interviewed him for five days about directing “Rattle and Hum.” Where the story goes from there is not what you might expect as the band kind of left him hanging.

Phil Joanou: They would take me to a friend’s house and then Bono and Edge would leave and I would have dinner with the husband and wife. After that they took me to a wedding and they left me there as well. I’m there in Northern Ireland and I’m all by myself at an Irish wedding and I’m like, okay great! I don’t know anyone here. I had to figure out how to get home. So, they would do weird things like that to me. They’d drop me off at a bar and leave me. This went on for five days!

After all this craziness, U2 came up to Joanou and said, “alright, you can do the film.” Joanou said that to this day he still does not know what the criteria was for them hiring him, but he described making “Rattle and Hum” as being an “incredible experience.” Looking back, he described the Irish rock band as having taught him so much while being on the road and in the studio with them.

“Rattle and Hum” was greeted with a critical backlash when it came out as critics accused the band of being too grandiose and self-righteous. Watching it today, however, is a different experience as “The Joshua Tree” tour, as it is presented here, feels far more intimate than any tour they have done since. The musical numbers are exhilarating to watch, especially in black and white, and their journey through the American music scene gives us a number of unforgettable moments. But moreover, it was especially great to see it on the big screen for the first time in many years. Concert movies like these really need to be seen on the big screen to be fully appreciated.

Flicks For Fans Screens Friday The 13th For Its 40th Anniversary

Thanks to the Coronavirus (COVID-19), many movies including “No Time to Die” and “Fast & Furious 9” have had their releases delayed from seven months to a full year. As for the movie theaters, they are virtually empty or have developed a “social distancing” designed to keep audience members separated from one another (as if social media has not accomplished this already). Truth is, we would be better off staying at home and watching “Dolemite is My Name” or “The Irishman” on Netflix.

This epidemic, however, did not stop Flicks For Fans from screening “Friday the 13th” in honor of its 40th anniversary. That’s right folks, the horror classic which eventually gave birth to the hockey mask wearing icon known as Jason Voorhees has now reached its fourth decade and continues to thrill one generation of horror fans after another. The screening was held at the Fine Arts Theatre in Beverly Hills, California, and it played as a double feature with another slasher film, “Sleepaway Camp,” which has a twist ending M. Night Shyamalan would never have come up with on his own.

Hosting this momentous screening was James “Jimmy O” Oster, writer for JoBlo and Arrow in the Head, and he was shameless in admitting just how much he loves the “Friday the 13th” and its far bloodier sequels, and he thanked those of us who braved the pandemic to come here even as we are, as he put it, “facing Armageddon.” Those who did show up were careful to keep their distance from one another, but we were relieved to see the theater had an ample supply of Purell and toilet paper on hand.

In addition, James and the Flick For Fans founder, Jason Coleman, took the time to make this cinematic experience all the more immersive. Fans got a chance to participate in the Kevin Bacon “Kill Cabin” photo op where you could get a picture taken while having a knife stick out of your throat. Both James and Jason did an excellent job of recreating the setting of Kevin’s infamous death scene to where it looked pretty much spot on. I did see, however, that they included a copy of Kitty Kelley’s “biography” on Nancy Reagan, and I am fairly certain this book was not featured in the 1980 film.

But the real “immersive experience” of this screening came as guests were brought to the back of the Fine Arts Theatre where actress Natasha Needles portrays a Crystal Lake camp counselor who takes audience members on an orientation for new counselors while trying to ease any concerns about the rumors we may have heard about “Camp Blood.” This orientation allows us to meet certain prophets of doom as well as a crazed parent who is a bit upset about her son drowning accidentally. There is also a wheelchair-bound man who has a machete painfully inserted into a certain part of his body. Judging from this man’s reaction to this unexpected injury, medical science has certainly come a long way since the 1980’s.

Special consideration should be given to Brittany Fontaine, a graduate of Tom Savini’s Special Make-Up Effects Program, for doing the special effects and make-up effects for the immersive experience.

“Friday the 13th” was preceded by a number of vintage trailers of 1980’s slasher flicks: “Don’t Go in the Woods,” “Madman” and “Just Before Dawn.” These are movies which feature young adults venturing into nature against their better judgment, making out with one another at the worst possible moment, and inviting death in ways which truly have them asking to be, at the very least, decapitated. And yes, they each have a prophet of doom warning others of a legend which must be taken seriously, but like scientists in the average disaster movie, their warnings are thoughtlessly ignored.

Also preceding the movie were some retro commercials featured as well. Suffice to say, laxative advertisements must have been far more lucrative 40 years ago.

But more importantly, this “Friday the 13th” screening was preceded by a video message from director Sean S. Cunningham which he made just for Flicks For Fans and this audience. In it, he thanked those in the audience for “braving the L.A. traffic” to be here (clearly this was made before Coronavirus became a global pandemic), and he paid tribute to all the actors who have played Jason over the years, among them Kane Hodder.

A big thank you to both James Oster and Jason Coleman and Flicks For Fans for putting this anniversary screening together and for making it all the more immersive. Furthermore, they deserve medals of honor for keeping it going even as we suffer through a global disease which will still be with us for some time. For some, it offered an opportunity to see “Friday the 13th” on the silver screen for the very first time, and the sound was jacked up to make all the screams more infinitely ear-piercing than ever before. A big thanks also goes out the employees of the Fine Art Theatre for all the Purell and toilet paper. It’s nice to know there was some place in Los Angeles which still had them.

American Teen – The Breakfast Club as a Documentary

“High school is the bottom. Being a teenager sucks, but that’s the point! Surviving it is the whole point!”

-Christian Slater from “Pump Up the Volume

High school. Like you, I do not miss those years, and you couldn’t pay me enough to go back through all that nonsense, and I see this even though I have credit card debt to pay off. The peer pressure, the rejection, the heartache, the unfulfilled longings and all the pressure which is unloaded on us by our parents when it comes to getting into a good college; I am stunned I survived any and all of it.

Still, I wonder what it is like for kids today. They have all these new advances in technology I never got to play with back then, but has the way we deal with each other in high school changed? Are people nicer now after horrible school shootings like Columbine or Parkland, or have things gotten worse? After you see “American Teen,” I think you will agree life as a teenager and in high school are neither better nor worse. In fact, everything remains the same. There are the cliques and the pressure to get into a prestigious college, and there are those who fit in and those who feel endlessly rejected. It has been more than 20 years since I graduated from high school, and kids still go through the same crap.

“American Teen” is a documentary by Nanette Burstein who previously directed “The Kid Stays in The Picture” and “On the Ropes.” Here, she gives us “The Breakfast Club” as if it were a documentary as she follows the lives of various teenagers as they go through their senior year at a small-town Indiana high school. There is nothing too edgy about this film, and it doesn’t deal much with drugs, sex, or school violence. What she is more interested in is taking the stereotypes of the jock, the nerd, the rebel, and the beautiful to where turns them upside down as she looks closely at the individuals inhabiting those stereotypes.

Burstein has gone on record and said that she considers herself a part of the “John Hughes generation,” and it’s very interesting how she takes the tropes of Hughes’ films and melds them into a movie filled with real people.

Unlike reality shows such as “The Hills” or “The Real World,” I think “American Teen” has a lot more to offer in terms of how teens deal with real problems, and I think it is also good viewing for those who are in high school right now as many of them likely think they are the only ones going through what they are going through. It’s important for them to know they are not alone, and we also need to listen to what they have to say.

Of all the subjects here, the most appealing one is Hannah Bailey, the liberal rebel of the highly conservative town of Warsaw, Indiana where this documentary takes place. She starts off as a free spirit and, deep down, she is the person many of us wanted to be like: free spirited and unconcerned of how others think of her. However, she is forever shattered when her boyfriend whom she was madly in love with, ends up breaking up with her after they have made out. Her emotional devastation is hard to watch as we have all dealt with the harsh pangs of young love. Hannah ends up getting so depressed to where she cannot bring herself to go to school out of shame and embarrassment. With her breakup comes a feeling of worthlessness which can easily engulf a young person and change who they are. From the start to the very end, Hannah is the one you root for the most.

We also have Jake Tusing, the nerd with a face ravaged with acne which cries out endlessly for the nearest dermatologist. Jake is a guy you at times feel sorry for, but you later find yourself cringing when he opens his mouth. A painfully shy kid who still suffers from the emotional scars he suffered in junior high, we see him being very uncomfortable around large groups of people. When a new girl moves into town, he sees this as his opportunity to get a girlfriend, something he hopes to acquire before he graduates. But soon, his defenses go up and he begins to push people away before they have the chance to do the same to him. In retrospect, Jake almost comes across as a real-life Dawn “Wiener-Dog” Wiener from “Welcome to The Dollhouse” as he goes from being likable to unlikable throughout the documentary.

Then there is Colin Clemens (no relation to Roger Clemens), the star of the high school basketball team in a town the sport is like a sacred religion. We see his dad constantly pressuring him to make those shots in the game when he is not doing his Elvis impersonation act for the local senior citizens in town (and who refuse to believe Elvis is dead). This intense pressure comes from the fact Colin’s family does not have enough money to send him to college, and his best hope is to impress the college recruiters so he can get a basketball scholarship. Colin comes across as a good kid whose parental influence leads him to make some crucial and painful mistakes, but he becomes a better person and teammate by this documentary’s end.

Finally, we have the most popular person at the school, and she proves to be a bitch beyond repair when you cross her. She is Megan Krizmanich, the daughter of a prominent local surgeon, the student council vice president and the homecoming queen. She is what many of us would call “little miss perfect” even though she is far from it. Like Regina George from “Mean Girls” in that she is one of the most popular people in high school as well as the one most loathed by the audience. She is under enormous pressure to get accepted into Notre Dame as all her family members have been accepted there. I won’t spoil it if she gets in or not, but when she gets the letter from the school, her expression isn’t so much happiness or sadness as it is sheer relief that the waiting is over.

One of this documentary’s taglines is “which one were you?” Taking that into account, you should be able to see yourself in all of these individuals regardless of what high school stereotype you ended up being trapped in. The pressures, the heartaches, the isolation; we have experienced it all. After watching “American Teen,” you may have felt like you lived through your high school years all over again. The high school pecking order on the social ladder has not changed one iota, and it remains an emotional boiling pot in the life of an adolescent.

“The more things change, the more they stay the same.”

-Kurt Russell from “Escape From LA

I wanted to know everything there was to know about these kids as “American Teen” went on, and I wanted them to succeed in what they wanted to do and to be happy. Happiness can be in such short supply when you are in high school at times. This documentary is filled with animated interludes which serve to illustrate the inner lives of its main characters. With Jake, we see him as the hero of those “Legend of Zelda” games he loves to play, rescuing the princess he longs to have as a girlfriend. With Colin, we see his dream of playing on an NCAA team after graduating from college. Hannah’s animation interlude illustrates her painful post-break up existence as she feels so differently about herself, and of her deep-seated fear of ending up like her manic-depressive mother. Then you have Megan’s moment which you can’t help but laugh at as she sees Notre Dame as this heavenly place where she can meet a diverse crowd of people who are nothing like those she picks on at school.

This is a great documentary to watch with an audience because everyone is bound to have a strong emotional reaction to what is going on throughout. We share in Hannah’s heartbreak and her triumphs as she proves to be the real hero here. We cringe and laugh at the socially awkward Jake as he stumbles through conversations with potential girlfriends. When he talks, you can’t help but put your hands in your face and shake your head in disbelief. With Megan, you feel a hatred and resentment which dissipates when you get to know her better. All the same, she reminds me of the one blonde cheerleader in my Shakespeare class who interrupted the teacher by saying, “THERE IS A RUN IN MY NYLONS!”

All that said, “American Teen” is by no means a perfect documentary. It does feel a bit staged, and it probably was in some cases. Also, part of me wished Burstein went a little deeper with other subjects. We see Hannah’s best friend is a homosexual who is always there for her when her self-esteem plummets, but we never really get to know who he is or of how he deals with living in a very conservative town. I also wanted to see more of the adults and of how they went about raising these young adults. We complain about the way kids act, but a lot of it has to do with the way their parents spoil them rotten. Trust me, this was a big problem in the town I grew up in.

Granted, Burstein wanted things to be shown from as much of the teenagers’ lives as possible, but the adults factor into this more than what we are shown. While “American Teen” does show the relationship Colin has with his Elvis impersonating dad, we don’t get as much with the other kids. Megan ends up committing a slanderous act of vandalism which she gets busted for, but her dad isn’t so much mad at her for doing it as he is with her not being able to keep from being caught. You have to wonder what kind of values these parents are instilling in their children as some are not the least bit healthy.

We also Hannah determined to move to San Francisco, California so she can pursue a career in television and film. She is so determined to get out of Indiana and lead a life which is anything but mundane, and we want to see her accomplish this regardless of how the odds are against her. But her mother ends up telling her she is “not special, and this is one of “American Teen’s” most wounding moments. I think any parent who tells their child this should be slapped. The world is tough enough without our parents breaking us down like that.

There is also a good deal of profanity bleeped out here. “American Teen” is rated PG-13 despite the f-word being mentioned only a couple of times. If the MPAA thinks they are trying to protect the kids old enough to see this movie from the bad words contained in it, they have failed. You wouldn’t believe the amount of bad language I heard on the playgrounds of the elementary and junior high schools I attended. It reminds me of Roger Ebert’s arguing how “The Breakfast Club” should have been PG-13 instead of R because he felt it was more than appropriate for teenagers. I couldn’t agree more, and the beeping out of “bad” language is ridiculous and only draws more attention to what the MPAA is trying to suppress.

Whatever you may think about “American Teen,” you have to give these kids credits for bravery because what they did here will forever be captured on celluloid and burned into our memories forever. It will be interesting to see a follow up to this documentary on where these kids are today. I’m not talking so much about the effect of the movie itself, but of the effect their years in high school have on their lives today. After graduation, they have nowhere to go but up, but life still has its pitfalls. How will their past inform their present?

Go Hannah!

* * * ½ out of * * * *

One From Sam Mendes: Revolutionary Road

“Once in a lifetime comes a motion picture that makes you feel like falling in love all over again. This is not that movie.”

– Tagline for “War of The Roses.”

Revolutionary Road” feels more like a horror movie than a romantic drama. It is brutally honest in the way it depicts the terrible disintegration of a marriage, the kind none of us ever want to get trapped in. Those of you who still think gay marriage is a threat to the sanctity of marriage should take a look at this movie, for it is a much more astute examination of what can really destroy such a prized institution. When the movie starts, we know we are in for a fateful journey of two people who at first look like they belong together, but we know they will eventually tear each other apart limb from limb.

But as tough as “Revolutionary Road” is to watch, it is also an utterly brilliant film which serves as further proof of how Sam Mendes’ Oscar win for his directorial debut of “American Beauty” was no fluke. There is not a single false note to be found here, and it feels practically flawless in its making and design. It has great visuals, a great screenplay and amazing performances from the entire cast. Mendes makes “Revolutionary Road” an enthralling experience into the horrors of conformity, the very thing we all try to fight against.

The movie starts with its two main characters, Frank and April (Leonardo DiCaprio and Kate Winslet), when they first meet at a party where they are instantly attracted to each other. The story then moves forward to years later when April is taking a curtain call for a play she is acting in, and she ends up bowing to a very unenthusiastic response from an indifferent audience. It is clear their relationship has gotten cold, and the utter frustration constantly simmering under the surface seem to be the only thing left for them to deal with. This leads to April to come up with what she sees as the perfect plan: They can sell their house and car and move to Paris where she can support Frank through secretarial work while he figures out what he really wants to do with his life. They both see it as their great chance to escape the confines of normalcy which has been eating away at their fragile little souls. However, reality threatens to take away from their dream one piece at a time.

This was Mendes’ fourth film as a director, and you can see a common thread through all his movies. Mendes seems endlessly fascinated with characters whose lives are at a standstill, and who hope for something incredible to happen to them. They are waiting for that moment where they can change into what they always hoped to be, and yet it never quite arrives. In “American Beauty,” it was the characters’ desire to wake up from their dead and dysfunctional lives. In “Road to Perdition,” it was the desire of Tom Hanks’ character to get his son away from the devious life he was leading as a mob enforcer, and to redeem himself in the eyes of his son. In “Jarhead,” it was the desire of the soldiers to enter a war and fight like men, and to take down their enemies by lethal force.

All of this comes around full circle in “Revolutionary Road” as this film deals with characters eager to escape their suffocatingly conformist suburb to live a life of sheer excitement. But they soon come to find they are not as special as they thought they were, and the desires of Frank and April seem to work in opposition to one another. The characters are complex in their creation, and we see what fuels their individual needs, desires, fears and anxieties which serve to define them and their actions. It’s almost like Frank and April are like George and Lenny from “Of Mice and Men;” they are two people hoping to get something they can never truly have, and they constantly delude themselves into thinking all is within their grasp and that their dreams will soon become a reality. But reality comes to rear its ugly head at them, and you know that it ain’t gonna pretty.

In a sense, “Revolutionary Road” can be seen as kind of a distant cousin to “American Beauty” in how it details the suffocating environment of suburban living, but each film approaches this differently. While “American Beauty” dealt with its characters with a dark sense of humor, the environment in “Revolutionary Road” is much bleaker and more consuming. In fact, “American Beauty” seems like a delightful walk in the park compared to this one.

This movie takes place in 1950’s Connecticut, and yet it feels quite contemporary which shows how frighteningly timeless story is. This is what will make the movie hard for many people to watch as they may end up seeing themselves in these two people; the longing for a more exciting existence, for an escape from the suburban way of living which has drained them almost completely of feeling, and to get another chance to get what they truly want out of life.

Along with cinematographer Roger Deakins (“No Country for Old Men“) and production designer Kristi Zea (“The Silence of The Lambs”), Mendes perfectly captures the look and feel of the 1950’s to where you feel like you are right in it. He also captures the routine of the life in suburbs and manages to capture some unforgettable moments like when April takes the garbage out to the front of the driveway, and she sees everyone else has placed theirs out in front as well. In this moment, he captures April’s realization of how she and Frank have bought into the resigned way of living they both thought they would somehow avoid. It’s a beautiful movie to look at, but the ugliness of its characters’ frazzled emotions come through to make this seem like anything other than a Norman Rockwell portrait.

In addition, Mendes is served very well by his frequent film composing collaborator, Thomas Newman. While his music score may sound like many of his others, Newman captures the longings of both Frank and April as they tumble through their seemingly mundane existence, and soon end up being driven crazy by it and each other. Throughout all his work, Newman seems to work with music so subtle in how it is performed, and yet so powerful in what it ends up conveying. It’s no accident that Newman also scored Mendes’ “American Beauty” and Todd Field’s “In the Bedroom.” Like Mendes, Newman has a strong feel for life in the suburbs no matter what decade a movie takes place in.

“Revolutionary Road” is really a tremendous acting showcase more than anything else, and I don’t just mean from the two main actors. You have the always wonderful Kathy Bates who plays Mrs. Helen Givings, the endlessly talkative real estate agent who sells Frank and April the home they end up living in. The smile on her bright face serves to hide the pain that we see later as we are introduced to her son who has just been released from a mental institution. You also have the terrific Dylan Baker as Frank’s co-worker, Jack Ordway, a man who endlessly waxes philosophically over the craziness of our existence. David Harbour and Kathryn Hahn are also excellent as the next-door neighbors, Shep and Milly Campbell. The excitement April and Frank have over their plan to go to Paris both enthralls and depresses Shep and Milly, and the way they react to it implies how April and Frank are not the only ones leading lives of quiet desperation.

But one of the true standout performances from the supporting cast comes from Michael Shannon as Helen Giving’s mentally unhinged son, John. In an atmosphere where the truth is felt but never verbalized, John finds himself completely incapable of telling a lie. Essentially, he is a Vulcan like Mr. Spock, but with an overabundance of raw emotion. Through his thoughtlessly cruel remarks to everyone around him, he exposes the seemingly perfect couple and their marriage for the sham it has become, and you can clearly feel his betrayal by these two people who had promised to escape the lifestyle they found themselves so hopelessly trapped in. Shannon’s performance is astonishing in its uninhibited nature as he becomes the voice of reason in a world so full of lies.

This of course brings me to the two main actors, Leonardo DiCaprio and Kate Winslet. This is the first film they have appeared in together since “Titanic,” but one is very different. It could almost be seen as a story of what happened to Jack and Rose after the big ship sank, assuming Jack survived the freezing waters. Both DiCaprio and Winslet have an incredible chemistry with onscreen, and it seems crazy it took them over 10 years to do another movie together.

DiCaprio continues to prove why he is one of the best film actors of his generation. Throughout the movie, he lets us look past the egotistical nature of Frank Wheeler which allows him to seduce a naïve young secretary (played by the wonderful Zoe Kazan), and to see the pain and fear which threatens to steer him further in a direction he never planned to go in. The relationship he had with his father always seems to be surrounding him in ways which are never fully explained, but we can see how it enforces the decisions he ends up making. Frank clearly cannot stand the job he has as a salesman, but he is also equally terrified of leaving it as he feels he may let down his family in the process. DiCaprio brilliantly captures the complexity of this character whose needs and desires constantly tangle with one other, and whose anger and frustration with life eventually boils over to the only person he can take it out on, his wife.

But as raw and complex as DiCaprio’s role is, he is almost completely blown away by Winslet’s performance. Watching her here, you might think she was in a Lars Von Trier movie. Whereas Frank may have been desperate to escape his mundane existence, April is ten times as desperate to do the same. Her desire to escape the boring life she sold herself out to is never ending, and she can never hide her pain and feelings of hopelessness from those around her. You have to wonder where she gets the energy to do this emotionally exhausting work, and she has more than earned her place in the ever-growing pantheon of great actresses.

“Revolutionary Road” is not the most enjoyable of movies to sit through, but not all movies are meant to be, and this one is not without purpose. We empathize with Frank and April in spite of the way they treat each other because we know all they go through could easily happen to us.

Sam Mendes is one of the best directors working today, and he created another masterpiece of suburban isolation which stands proudly alongside “American Beauty” and “In the Bedroom” among others. It also shows how the term “civil marriage” can seem like the ultimate oxymoron. It goes back to people saying how love is a four-letter word, or that it is a sentence. Frank and April’s story is a tragic one, and probably not a movie to be watched by those who just got engaged.

* * * * out of * * * *

‘Silver Bullet’ Movie and Blu-ray Review

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

The work of Stephen King has usually produced highly entertaining and enjoyable films.  Not everything has been great or even good, but for the most part, there is usually something to take away from them which is unique and falls right in line within the realm of King’s wonderful and twisted brain.  That is definitely the case with “Silver Bullet,” which is based on his novella “Cycle of the Werewolf.” King also wrote the screenplay as well, so he was very hands-on with his approach to this film and in making sure his vision was seen clearly on screen.  The fine folks over at Scream Factory have brought it back into the public eye with this special collector’s edition on Blu-ray.

The film was released in 1985, the year I was born, and it stars Corey Haim as Marty, a 13-year-old boy who is stuck in a wheelchair.  Because of this, he tends to get special treatment from his family.  This does not endear him to his sister Jane, played by Megan Follows.   She feels as though her parents are always taking his side and that he can get away with anything and everything.   He is also very popular with his Uncle Red, played by Gary Busey.  Red is coming off his third divorce, and he is not shy about hitting the sauce as often as possible.

Deep down, however, Uncle Red has a lot of love and affection for Marty, and this leads him to build Marty a special wheelchair he names Silver Bullet which allows him to get around and have a little more fun.  But suddenly, this quiet and quant town where they live gets turned upside down when they start to notice people are being killed off left and right.  First, there was the local town drunk. And then a young child, an angry father and a pregnant woman also end up dead in a matter of days. The people of this small-town start to get restless and they want answers right away, but the local sheriff Joe Haller (Terry O’Quinn) is not able to provide them.  Because of this, they decide to go out looking for some private justice of their own.  Even the local Reverend Lowe (Everett McGill) doesn’t know what to say to the people anymore about the deaths which are occurring, and it is about to get worse before it can possibly get better.

Corey Haim, Gary Busey and Megan Follows.

“Silver Bullet” is only 94 minutes, but a lot happens in those 94 minutes.  There is never really a dull moment or a scene which doesn’t make sense to the overall film.  At times, the category it falls under can be a little confusing.  Is it a straight up werewolf movie?  Is it a horror movie about a werewolf for young children to watch? At times, the film goes full throttle with the gore which set up some gruesome and enjoyable death scenes.  During other scenes, it cuts away from the gorier aspects of the killings.  It seems to want to have its cake and eat it too.

What I mean by that is it wants to be accessible for young children as a horror movie they can watch, but it doesn’t want to go too far.  Tonally, it seems to be trying to please young children and horror fans, and this is not an easy task to pull off.  There is a brother/sister relationship which is something a lot of kids can relate to, and the kids are trying to get the adults to see there is a werewolf out there.  On the other hand, they deal with topics such as divorce, suicide, and alcoholism. While the film worked for me, I could see it having a tough time finding an audience back when it was released.

According to IMDB, the budget was seven million dollars, and it grossed 12 million worldwide.  It was not a total bust, but it didn’t set the world on fire either.  That is why Scream Factory is perfect for films like “Silver Bullet.”  I had never seen it in the past, but I enjoyed it quite a bit.  The film has a good sense of humor, great performances from Haim, Follows and Busey, and it contains some pretty cool kills.  I think it will find a whole new audience on with this collector’s edition Blu-ray.

* * * out of * * * *

______________________________________________________________________________

Blu-Ray Info: “Silver Bullet” is released on Collector’s Edition Blu-Ray from Shout Factory/Scream Factory. It has a running time of 94 minutes and is rated R.

Video Info: “Silver Bullet” is presented in 1080p High-Definition Widescreen (2.35:1), and it looks out of this world on Blu-ray for being thirty-four years old.  At this point, we should expect no less from Scream Factory.  They do not disappoint with their transfers, and there is not a single shot in the film which is grainy or dirty.  It is clear, bright and filled with life.

Audio Info:  The English DTS-HD Master Audio Mono is also top-notch.  It must be mentioned that the music was composed by Jay Chattaway who will forever hold a place in my heart for his work on the “Maniac Cop” Rap.  He does a great job with the music in knowing when to keep it calm and mellow and when to take it up a notch.

Special Features:

NEW Audio Commentary with Producer Martha De Laurentiis

NEW Cutting to The Bone – An Interview with Editor Daniel Loewenthal

NEW A Little Private Justice – An Interview with Actor Kent Broadhurst

The Wolf Within – An Interview with Actor Everett McGill

Full Moon Fever – The Effects of Silver Bullet – An Interview with Special Effects Artists Matthew Mungle And Michael McCracken

Audio Commentary with Director Daniel Attias

Isolated Score Selections and Audio Interview with Composer Jay Chattaway

Theatrical Trailer

TV Spot

Radio Spot

Still Gallery

Should You Buy It?

I love what Scream Factory is doing for the horror genre and how they are bringing new life to films which have long been forgotten unless you are a super hardcore horror fan.  I like to consider myself very knowledgeable when it comes to the genre, but they always find a movie here and there which I haven’t heard of before, or have heard of but never seen in the past.  With “Silver Bullet,” they add plenty of special features that are worth watching and which add a lot to the film.  Scream Factory has become like the Criterion Collection for horror fans.  As far as the film itself, it is a nice 94-minute ride that is paced perfectly.  It is one of those films where you sit back, relax, laugh, scream and just enjoy yourself from start to finish.  I recommend you pick this one up if you get any Amazon gift cards over the holiday season.  You will be pleasantly surprised by it, despite some of the flaws I mentioned in my review.  Still, those flaws do add to the charm of the film.

Martin Scorsese’s ‘Hugo’ is a Splendid Love Letter to the Power of Movies

Hugo movie poster

Maybe it was Martin Scorsese’s desire to utilize the 3D format which kept me from seeing “Hugo” on the first day of its release. 2011 saw 3D movies get a serious public beating as audiences became convinced it existed solely for Hollywood studios to jack up ticket prices. But to watch “Hugo” is to be reminded of how amazing 3D can be when using the right tools and not just throwing cheap gimmicks at the audience. But moreover, it is backed up by a great story and remarkable performances as Scorsese shares with us his love of all things cinema.

Seriously, the first five minutes of “Hugo” will blow you away as you will feel like you are traveling over the Paris of the 1930’s. It truly looks as though the snow it is literally blowing in your eyes, and it reminded me of when kids were grasping at the snowflakes coming off of the silver screen during “The Polar Express.” Scorsese was lucky enough to use the same Fusion Camera System which James Cameron used to superb effect in “Avatar.” The images stretch out from the screen, and the extra dimension gives these visuals a depth which at times feels remarkably real.

Based on the novel “The Invention of Hugo Cabret” by Brian Selznick, Asa Butterfield stars as Hugo, a young boy living alone in a Paris railway station while maintaining the clocks and stealing whatever supplies he needs in order to survive. One major obstacle he has to deal with is Inspector Gustav (Sacha Baron Cohen) who patrols the station with his vicious looking dog. Gustav shows no hesitation in picking up orphans and sending them straight to the orphanage which, in the kids’ eyes, seems like an unforgiving house of horrors.

Two people come to play an important role in Hugo’s life: the toy shop owner Georges Méliès (Ben Kingsley) and his spirited goddaughter Isabelle (Chloë Grace Moretz). They enter Hugo’s life as he continues to work on fixing an automaton he and his father, Mr. Cabret (Jude Law), were putting it back together in working order when Mr. Cabret was tragically killed in a museum fire. It is this same automaton which will draw these three together in ways none of them could ever have imagined.

By taking us back to a time when motion pictures were in their infancy, effects we now see as cheesy and simple to create come to feel as magical as they once did. Scorsese is brilliant in putting us into these characters’ shoes as we watch audiences react strongly to a film with a train which looks like it is coming straight at them, or at Buster Keaton hanging on for dear life from a clock outside a tall building. Looking at the awe which is so vivid in the faces of these children reminds us of how movies can magically draw us into another world, and this is a feeling many movies do not give us these days. In this day and age, we take the power of motion pictures for granted.

Butterfield’s performance is remarkable. Showing the pain and resourcefulness of a young boy who has lost his parents and is forced to fend for himself is no easy task, and he ended up giving one of 2011’s most underrated performances. Butterfield inhabits the character of Hugo so deeply to where, after a while, it does not feel like we are watching a performance at all.

Kudos also goes to Moretz, the star of “Kick Ass” and “Let Me In,” for adding yet another superb role to her already splendid resume. As the adventurous Isabelle, she pulls off a flawless English accent which is worth noting as we have gotten so used to actors screwing them up. The warmth of her smile onscreen is utterly genuine, and she lights up “Hugo” whenever it feels like it is getting a bit too dark.

There are other great performances to be found in “Hugo” as well. Ben Kingsley is fantastic as usual as Georges Méliès, and the late Christopher Lee has some wonderful moments as bookshop owner Monsieur Labisse. One of the big standouts in the supporting cast though is Sacha Baron Cohen who takes a break here from his “Borat” and “Bruno” mockumentaries as Inspector Gustav. He’s a hoot throughout, and his interactions with the infinitely lovely Emily Mortimer (“Lars and the Real Girl”) who plays Lisette are hilariously sweet.

Scorsese has put together a truly beautiful motion picture which deserves a bigger audience than it received while it was in theaters. The fact that more people went to see “Alvin and the Chipmunks: Chipwrecked” than this is deeply depressing. A lot of moviegoers really hated 3D movies back in 2011, so this did not do “Hugo” any favors. But after watching it, you will find yourself believing this extra dimension is worth your money when it is put together by the best masters of filmmaking.

* * * * out of * * * *

‘Terminator: Dark Fate’ – Seriously Folks, The Thrill is Gone

Terminator Dark Fate theatrical poster

Hollywood is one the few places on this planet where you can look at $29 million dollars and say, that’s it? This was the reaction many had when the opening weekend numbers of “Terminator: Dark Fate” were revealed to the world, and to say they were below expectations is putting it mildly. Many will pontificate over why this sixth installment bombed at the box office, but I think it comes down to the inescapable fact that the “Terminator” franchise has long since lost its capacity to wow and thrill us in the same way the first two movies did, and even series creator James Cameron, who returned to executive produce this sequel, cannot put it back together again. While you can retcon the hell out of “Halloween” to keep it going, “Terminator” is now way past the point of self-termination.

I finally got to check out “Terminator: Dark Fate” after finding some time to tear myself away from work as I was not going to let anything deter me from seeing it on the big screen. The truth is, it is not a bad movie and it has a good story and a game cast of actors who bring their all to the material. But it does not take long to see this sequel tread familiar ground as the story remains the same even if the major players have changed, and the feeling of déjà vu is more prevalent than ever before.

“Dark Fate,” as you all know by now, is a direct sequel to “Terminator 2: Judgment Day” and it ignores all the other movies which followed it. The movie begins with Sarah Connor suffering a tragedy much like the one Ellen Ripley suffered at the beginning of “Alien 3.” While she and her son were able to stop Judgment Day, they could never stop fate. The movie then jumps ahead 22 years when an advanced Terminator called the Rev-9 (Gabriel Luna) appears in Mexico City with a mission to kill Daniella “Dani” Ramos (Natalia Reyes), a young woman who works at an automobile industrial plant. But when Dani arrives at work, she finds her job is being taken over by (surprise, surprise) a machine.

Another person arrives from the future, and her name is Grace (Mackenzie Davis). At first she appears human, but then she is shown to have superhuman strength and fighting abilities much like the average Terminator, and seeing her kick human ass is quite the sight. We later learn she is indeed human but has been augmented to become more like a cyborg, and her mission is to protect Dani from Rev-9 as Dani is set to play an important role in the future.

Sound familiar? Of course it does because this was pretty much the plot of the first two “Terminator” movies. Part of me wants to forgive this as it sets up how Skynet was completely destroyed and has since morphed into another artificial superintelligence system called Legion, and this shows how history, more often than not, repeats itself. Heaven forbid we ever learn from our mistakes, you know? We are certainly reliving a past we have not learned from right now as certain impeachment hearings have a certain Nixon feel about them. Like Snake Plissken once said, “the more things change, the more they stay the same.”

But while the first few minutes tread very familiar ground, “Dark Fate” really comes to life when Linda Hamilton enters the picture as an older but still battle-ready Sarah Connor. It is the first time Hamilton has appeared in a “Terminator” movie in 28 years, and it is great to have her back as she makes this iconic character of hers as badass as ever, and she has some terrific dialogue to boot. With her face weathered from years of struggle and loss, Hamilton quickly reminds us how brilliantly she embodied this character all those years ago, and with the character evolving to another level here, she shows how one with such a hardened heart can rediscover their humanity even after suffering the worst life has to offer.

And yes, Arnold Schwarzenegger is back, and he gets to take his iconic character of the T-800 in yet another interesting direction. In “Terminator: Genisys,” he played the cyborg as one who has existed long enough to where he is no longer under warranty. In “Dark Fate,” this T-800 starts off as a cold-blooded assassin who, after a particularly shocking act, ends up developing a conscience and even becomes domesticated. Schwarzenegger gives another inspired portrayal here as he plays it straight and never for laughs, and this makes his performance all the more enjoyable. It is not the first time he has given a terminator this much heart, but his work here is particularly moving in a way it has not been for some time.

Mackenzie Davis, so luminous in “Tully,” is a powerful presence as Grace, and there is no doubt she gave her all in this role as watching her dominate the action scenes here is both physically and emotionally exhausting, just as it should be. Natalia Reyes does strong work in taking Dani from being an innocent person thrust into a situation no one could see coming to someone who accepts a role she is expected to fulfill. As for Gabriel Luna, he is good as Rev-9, but he is nowhere as menacing as Robert Patrick was as the T-1000.

Directing this installment is Tim Miller who helmed the first “Deadpool” movie, and he certainly has an interesting visual style which benefits this franchise to a point. At the same time, he is not able to bring the same visceral energy Cameron brought to the first two “Terminator” movies. Looking back, none of the other directors were able to either. Some came close, but Cameron is a rather unique filmmaker as he has given us some of the most exhilarating and adrenaline-pumping motion pictures we could ever hope to watch, and his vision of “The Terminator” is a personal one which no one can easily duplicate.

“Terminator: Dark Fate” simply feels like the same old thing with little in the way of anything new. It’s not a bad movie and it definitely has its strengths, but it serves as proof that this franchise has truly hit a dead end and really needs to be put to rest. The last few “Terminator” movies have come to us with the promise of a trilogy and of filmmakers more or less telling us that, this time, we are going to get it right. Well, this is the latest installment to see its hopes for a trilogy dashed yet again as Arnold’s dialogue of “I won’t be back” proves to be quite prophetic.

Still, we do learn of one advantage of being a terminator which the other movies never showed us: they can change diapers without complaining. If this does not impress you, what will?

* * ½ out of * * * *