The Super Bowl LVI Movie Trailers in Review

The Super Bowl has come and gone again. While the home team, the Los Angeles Rams, got me interested in this monumental event more than usual, what always brings me back to the Super Bowl are the commercials and the trailers for upcoming films which look to bring in the largest audiences possible. Even if some are available to stream on streaming services on opening day, these blockbusters are clearly made for the silver screen. Whether or not COVID mandates are still in place when these films arrive, I look forward to seeing many of them in a theater.

Doctor Strange and the Multiverse of Madness

Following the massive success of “Spider-Man: No Way Home,” Doctor Strange returns to battle the multiverse once again, and it looks badass to put it mildly. Sam Raimi returns to make his first movie based on a Marvel Comics character since “Spider-Man 3,” and it sure feels like a Sam Raimi film with all the crazy images which look like they came from “The Evil Dead.” The only thing I have to wonder now is this, will there be a Bruce Campbell cameo? Moreover, will his classic yellow 1973 Oldsmobile Delta 88 make an appearance as well? If so, that would be groovy.

Granted, the trailer presented during the game was a teaser for the official trailer which is now available to view online. I am just going to leave you the official trailer down below. Just when I thought I was getting burned out by superhero/comic book movies, this “Doctor Strange” sequel has whetted my appetite.

By the way, was that Patrick Stewart’s Professor X voice we heard?

The Lost City

Look, I love Sandra Bullock and Channing Tatum is fun, but this trailer for “The Lost City” makes the film seem like a wannabe “Romancing the Stone” which is too broadly comedic for its own good. Directed by Aaron and Adam Nee and based on a story by Seth Gordon, Bullock plays the brilliant but reclusive writer Loretta Sage who is known for penning romantic adventure novels which take place in exotic locations. While promoting her latest novel, she is kidnapped by an eccentric millionaire played by Daniel Radcliffe whom we see only briefly here, and it is up to Alan (Tatum), the model for Bullock’s book covers to save her. Oh yeah, there is a secret treasure involved. Sound familiar?

It pains when actors are clearly striving to be funny as this trailer. Still, it is worth watching for Brad Pitt who steals the show here just as he stole a certain scene in “Deadpool 2.”

Jurassic World Dominion

As disappointing as “Jurassic World: Fallen Kingdom” was, its conclusion gave its follow-up an interesting scenario to work with, dinosaurs co-existing with human beings. Can such a thing be possible, or will one race dominate the other to where a certain species is rendered extinct?

The trailer presented during Super Bowl LVI is the same one that recently premiered online. The image of cowboys trying to herd some dinosaurs who could easily kill them just by stepping on them is a fascinating image, and the characters played by Chris Pratt and Bryce Dallas Howard now have a daughter because, let’s face it, these two were bound to get it on at some point, and the whole will they or won’t they scenario has long since been played out.

But the real joy of the “Jurassic World Dominion” trailer is seeing the return of the “Jurassic Park” trio, Sam Neill, Laura Dern, and Jeff Goldblum. Neill is always terrific in whatever project he appears in, Dern looks like she hasn’t aged a day since “Jurassic Park III,” and Goldblum looks to get more of a role this time around as opposed to the glorified cameo he got in the previous installment.

The magic of first seeing the dinosaurs in Steven Spielberg’s 1993 film has never been quite the same, and this franchise has taken some embarrassing turns since then. But with “Jurassic World” director Colin Trevorrow behind the camera again, maybe everyone involved will give this trilogy the conclusion it deserves.

The Adam Project (Netflix)

On one hand, this trailer acts as a promotion for the original content Netflix is going to be dropping on us in the coming months. But this trailer’s main attraction is clearly the Shawn Levy film “The Adam Project” starring Ryan Reynolds, an actor no one can ever seem to get sick of. Originally titled “Our Name is Adam,” back when Tom Cruise was attached to star, Reynolds travels back in time to meet his younger self (played by Walker Scobell) in an effort to confront their late father. While the storyline seems like a rip-off of “Looper,” this looks like its own thing despite any similarities which I am hoping are coincidental.

Seriously, seeing Reynolds in this trailer made me as giddy as Will Ferrell was when he spotted him in the audience the last time he hosted “Saturday Night Live.”

Nope

This trailer for Jordan Peele’s latest cinematic opus reminds me of the greatness of the first “Cloverfield” trailer; it gives us a lot of fascinating and unforgettable visuals while leaving the movie’s plotline a mystery. The trailer for “Nope” looks like it takes place at a horse ranch in the middle of nowhere when all the electricity suddenly goes out, and either Armageddon is happening or a UFO is landing as characters flee as fast as they can or get sucked up into the air. Whether it is a political thriller dealing with racism like “Get Out” and “Us” or just a straightforward science-fiction horror thriller, this trailer has me deeply intrigued, and July 22nd cannot come soon enough.

Ambulance

Anybody who knows me well understands how much I despise Michael Bay. Ever since the cinematic atrocity that was “Transformers: Revenge of the Fallen,” I have avoided his movies like the plague. However, I cannot help but be intrigued by his latest film, a remake of the 2005 Danish film of the same name, which is about a bank robbery gone wrong (is there any other kind in movies?) which leads two of the robbers to hijack an ambulance and use an EMT and a wounded police officer as hostages. Plus, with a cast that includes Jake Gyllenhaal and “The Matrix Resurrection’s” Yahya Abdul-Mateen II, this looks to be a film not made with 5-year-old moviegoers in mind. Whether it is made with the mindset of a 5-year-old, however, remains to be seen.

The trailer for “Ambulance” has been out for some time now, but its Super Bowl spot serves as a reminder of how I am honestly excited for it. While it looks to have those typical Bay flourishes like explosions and cameras moving around in circles, there is nary a Transformer to be found here.

Top Gun: Maverick

Delayed by the COVID pandemic more times than “No Time to Die” and hoping to score big at the foreign box office, “Top Gun: Maverick” is FINALLY arriving in theaters this May. For its Super Bowl spot, Paramount partnered with Porsche because when Tom Cruise says he “feels the need, the need for speed,” you either think of “Top Gun” or a Porsche, right? Well, I would certainly love to drive a Porsche with Jennifer Connelly as my passenger, that’s for sure.

With Cruise reteaming with his “Oblivion” director Joseph Kosinski, we can expect some truly intense visuals and real G-force experiences as shown on Maverick’s face. But as with those “Avatar” sequels which James Cameron keeps promising us, I have to say RELEASE THE DAMN MOVIE ALREADY!

The Lord of the Rings: The Rings of Power

Okay, this is not a movie trailer, but it is a trailer to one of the most anticipated television series ever. Now, this trailer proves this is not a remake of Peter Jackson’s “Lord of the Rings” trilogy, but instead a prequel that takes place many, many, many, many, many years before Gollum found his precious. While it looks epic, those CGI effects look fairly obvious and kind of take me out of the spectacle on display. Still, we are in J.R.R. Tolkien territory, and it remains ripe with imagination after all these years.

DC Movies

Instead of a single comic book/superhero movie, DC movies will be giving us four of them in 2022: “The Batman,” “Black Adam,” “The Flash” and “Aquaman and the Lost Kingdom.” Images from each one are featured in one Super Bowl ad, and these are my thoughts: I’m sick of hearing about “The Batman.” I just want Matt Reeves’ cinematic interpretation of Bruce Wayne and his alter ego to come out already. Seeing Dwayne Johnson as Teth-Adam/Black Adam proves to me how passionate he was about bringing this character to the silver screen. Hopefully, Ezra Miller will have more speed on his side than he did with “Justice League.” As for Jason Momoa, he has already proven to me he is the definitive Aquaman, and the upcoming sequel is yet another reminder of the fact I have still not watched the original. With these four movies, perhaps DC will finally give the Marvel Cinematic Universe a run for its money.

Sonic the Hedgehog 2

I have not seen the first “Sonic the Hedgehog,” and the Super Bowl spot for the sequel does not make me want to check either of them out. When it comes to Jim Carrey though, I have no problem defending him as an actor. While he looks to be doing his usual schtick here as Doctor Ivo “Eggman” Robotnik, he is far more than what he appears to be. His lack of an Oscar nomination for “The Truman Show” was tragic, and they should have just handed him the Oscar for his performance as Andy Kaufman in “Man on the Moon.” And when it comes to “Batman Forever,” I still think he was the best thing about it. Anyway, that is all.

‘Jackass 3D’ – The Hilariously Insane Stunts Take On Another Dimension

WRITER’S NOTE: This review was written back in 2010 when this film premiered.

I saw “Jackass 3D” on the same day I saw “Paranormal Activity 2.” Believe it or not, these two films have a lot in common. Sure, one is a comedy (and an extraordinarily painful one at that) while the other fits far more comfortably into the horror genre. Still, the differences are only skin deep. Both have you going in and knowing that what you are about to watch will be unsettling and far more disturbing than you can ever guess. You keep waiting for something awful to happen, and you are never sure if you can keep looking at the screen when it does. Long after leaving the theater, I still can’t figure out which one had a more visceral or unsettling impact on me.

“Jackass 3D” arrives at the tenth anniversary of this show which debuted on MTV back in 2000. After watching the stunts performed here and then re-watching them in slow motion, it’s astonishing these guys have survived for as long as they have. I have watched several episodes of the show and remember laughing so damn hard at the insane stunts these guys dared to pull off. For some bizarre reason, however, I have still not got around to watching the first two “Jackass” movies perhaps because I listened a little too much to the warnings of friends, one who told me point blank they contained scenes which no man should ever have to witness. But with the latest one being in 3D, I got sick of listening to my friends warning me and to me listening to them to begin with.

Just about everyone is back for this one: Johnny Knoxville, Bam Margera, Steve-O, Ryan Dunn, Chris Pontius, Ehren McGhehey, Preston Lacy, Dave England, and Jason “Wee Man” Acuña. All are here to prove that, after all these years, their sadomasochistic escapades are still as painful as much as they are fun. It makes me wonder how these guys spend their time when they are not on camera. At least they have a sense of humor about their work.

Basically, “Jackass 3D” is just like the show in that there’s no plot, just randomly placed stunts, some of which are beyond belief. I kept wondering, perhaps even hoping, CGI effects were utilized because man, these stunts looked seriously painful! There’s the High Five which has Knoxville body slamming unsuspecting cast and crew members with a giant plaster hand which gets released at quite a high velocity. Then you have the game of tetherball where the ball is filled with Africanized bees, and nobody lasts long in such a game. We also get to watch Knoxville trying to catch a football and eventually getting slammed to the Astroturf by football player Jared Allen who has at least 20 pounds on Knoxville. And then there are those stunts that need no explanation like the Lamborghini Tooth Pull. Seriously, the title says it all.

With its use of slow motion, this film is a hair-raising reminder of just how exquisitely painful those instant replays from football games can be. Does anyone remember when Tim Krumrie got one of his legs snapped in half during the Super Bowl between the Cincinnati Bengals and the San Francisco 49ers? Watching some of these guys landing on what looks like their necks inadvertently brought this painful memory to my attention quickly even after so many years.

But then there is the Sweatsuit Cocktail and the Poo Cocktail Supreme. Now these really need no explanation, but since I brought them up, I have to tell you the Sweatsuit Cocktail almost literally made me hurl. It involved one of the actors exercising on one of those stationary bikes, and the sweat coming off his body was collected in one of those plastic Dixie cups. Guess what Steve-O did with that cup… Man am I glad I didn’t eat lunch before seeing this!

So, what is different about this particular “Jackass” episode? I guess it’s that everyone is sober this time around. This was done to the benefit of Steve-O who went through some highly publicized substance abuse issues in recent years. When they started making “Jackass 3D,” he had been clean for two years. But seriously, if you were foolish enough to perform any stunts (and please don’t by the way), wouldn’t you want to be the least bit inebriated?

Not to worry though because those warnings of how these stunts are performed by professionals and that you should never attempt them on your own are on display at the beginning and the end of this film. But really, why would you even think of doing any of them? I’m not just talking about the Sweatsuit Cocktail, which I am fairly confident you will not tip the bartender for. Isn’t the whole point of the “Jackass” show and movies is to enjoy watching people do things you know you are never supposed to do? Is there another show you can think of where people like Knoxville get off on such exquisite pain and still have a good laugh about it?

For me, “Jackass 3D” is a mixed bag as there are a lot of insane moments you can’t help but combust in sheer laughter over, and then there are others where you have an immense urge to look away. But laughter does seem to win out for those willing to endure the more painful moments on display here, and there are more of them than you might expect. Movies that make me laugh as hard as this one did can never be easily dismissed.

Actually, the main difference about this particular “Jackass” is the fact it was shot in 3D. This ends up giving the stunts more dimensions than anyone in the cast. Now pay attention: it was not reformatted into 3D; it was actually shot in this format. The effects here are actually very good in putting you right into the action, perhaps closer than you would ever be humanly comfortable. It’s not full of cheap 3D effects where things are just hurled at you on the big screen just because they can be. That is, except for the dildo shot out of a cannon and made to look like it is flying around the world until it smashes into some guy’s head.

I also got to tell you, male full-frontal nudity continues to make a comeback long after Jason Segel unveiled in his throbbing python of love in “Forgetting Sarah Marshall.” It’s not the first thing you would think of to hit a baseball with, but hey, this is “Jackass” for crying out loud! All the same, I probably shouldn’t go into too much detail over the Helicockter as it is as painful as it sounds. Then again, I would prefer it to the model town getting covered by a sudden explosion of excrement.

So anyway, you have been warned. “Jackass 3D” is by no means meant to be watched on a full stomach unless you wanna take bets over who’s going to purge first after your collective visit to the Cheesecake Factory. This one had me laughing like crazy, and I was on the edge of my seat every bit as much when I was watching “Paranormal Activity 2.” Perhaps it was even more terrifying than “Paranormal Activity 2,” but with “Jackass 3D,” no detail is spared and nothing is left to the imagination (not completely anyway).

Once again, you have been warned…

* * * out of * * * *

The Coen Brothers’ ‘True Grit’ is a Far More Faithful Cinematic Adaptation Than What Came Before

Watching Joel and Ethan Coen’s version of “True Grit,” it suddenly occurred to me I had read the book it was based on back in my sophomore year of high school. I can’t believe I forgot that as I usually remember every book me and my fellow classmates were made, or forced, to read such as “The Diary of Anne Frank,” “To Kill a Mockingbird,” “Of Mice and Men” or “A Day No Pigs Would Die.” This book, which was written by Charles Portis, however, seemed to have escaped my memory of having read it. When I think of the book now, I am reminded of how Mattie Ross, when she saw the body of her murdered father in his coffin, simply told the undertakers, “Put a lid on it.”

Damn! Mattie seemed cold as ice; hell bent on pursuing her father’s killer no matter what and without ever shedding a single tear. But she is also a human being endowed with an undying sense of purpose, determined to find fairness in a world which often seems devoid of it. Now everyone remembers Rooster Cogburn more than any other character in “True Grit” because John “The Duke” Wayne portrayed him in the 1969 movie as it won him his only Oscar. But those who have read this novel know full well it is really about Mattie Ross, not the easiest person to get along with, but hard not to admire. It’s her story more than it ever was Cogburn’s, and the Coen brothers understand this completely in their cinematic adaptation which proves to be very faithful to its source material.

Jeff Bridges, Matt Damon, and Josh Brolin may have top billing, but the weight of “True Grit” rested on the soft shoulders of then 14-year-old newcomer Hailee Steinfeld. Her astonishing performance brings Mattie Ross right off the written pages of Portis’ book and to vivid life. This was not necessarily the case when Kim Darby portrayed her opposite Wayne in 1969. Our sophomore English class watched some, but not all of, the original film, and once we saw Mattie cry in a way she never would have in the novel, we all knew one liberty too many had been taken with the source material. I guess having a character appear stronger willed than one played by The Duke must have seemed unthinkable at the time.

But seriously, Steinfeld is a revelation as Mattie, and the movie would have completely failed were she not as fantastic as she was here. Seeing her stroll into the town with her no-nonsense attitude and wise beyond her years, the actress sells the character perfectly and has us eager to follow her every step as she pursues Tom Chaney before he escapes the hand of justice. Her eyes show a willful determination which I never doubted, and any sadness she shows is somehow restrained. Steinfeld takes a character who is not altogether likable and makes her one of the most compelling characters I saw in any 2010 movie. She doesn’t so much play the character as much as she inhabits the role. Now how many other 14-year-old actors do you know who can pull this feat off?

As the story goes, Mattie tries to procure the services of Rooster Cogburn because she believes he possesses “true grit;” someone who has courage, fearlessness, and guts. As played by Jeff “The Dude” Bridges, who owned the 2010 holiday season with this and “Tron: Legacy,” Rooster is a drunken lout who never appears to be fit for his line of work, but his sense of duty does manage to keep him sane in an increasingly violent world. The relationship he has with Mattie is not one based on kindness, and he would as soon as leave her in the dust than bring her along. But something about Mattie’s dogged determination, illustrated by her riding her horse across a river while keeping her head above water, wins the whiskey loving Marshall over.

I’m not going to bother comparing The Dude and The Duke because frankly I don’t have the energy. Wayne made his mark in one film after another, and Bridges’ performance works so well because he never tries to outdo what Wayne did. Like any smart actor, he makes the character his own, and his Rooster Cogburn threatens to be every bit as inebriated as Val Kilmer was when he played Jim Morrison in Oliver Stone’s “The Doors.” From the start, I was almost afraid Bridges might turn the character into a parody of sorts, and perhaps rely too much on his “Big Lebowski” persona to get him through the day. But this never was the case as Bridges makes his Rooster Cogburn into a wonderfully complex character who, despite his grungy appearance, still knows the Indian territory like the back of his hand.

Also along for the ride is Matt Damon who portrays Texas Ranger LaBeouf. I thought he would stick out like a sore thumb here, but he makes his character a wonderfully engaging one even as he keeps coming and going throughout. Seeing LaBeouf get his ass handed to him by Mattie Ross is a major highlight, only if to see the shocked expression on his face when he realizes he truly got suckered by a 14-year-old.

Josh Brolin, who previously worked with the Coens on “No Country for Old Men,” makes Tom Chaney not just a simple one-dimensional villain as his crime was motivated more out of jealousy and fear than anything else. Even he can’t intimidate Mattie as she has the strong resolve and moral fortitude he seriously lacks, and his life has lost its sense of purpose. Brolin manages to convey all this in the limited time he has onscreen.

Another guy I was happy to see here is Barry Pepper. As “Lucky” Ned Pepper (no relation I’m sure), he gives us a nasty outlaw and a vicious guy who will not allow anyone to undo his authority any more than he appears willing to brush his teeth; man, his teeth look hideous!

The main difference between the 2010 and 1969 movies is in how the wild, wild west is portrayed. The 1969 movie was more about watching Wayne blow away the bad guys just as he had in every other movie he starred in. But the 2010 version portrays the world it inhabits much more realistically, treating violence as a brutal and very vicious thing. This one is more akin to “Unforgiven” than “Rio Bravo.” Violence is a way of life for all these characters, and it defines the way they see the world around them. We also see how it affects their souls as the specter of death hangs over their every move. There’s no attempt to sweeten up the narrative or make it the kind of western many of us grew up watching.

Still, the Coen brothers have succeeded in making one of their most accessible movies to date for the mainstream audiences with “True Grit.” They also managed to do it without compromising themselves as this film sees them getting the widest audience they ever had before. They continue to employ their regular collaborators who never fail them such as cinematographer Roger Deakins, editor Roderick Jaynes, and their longtime composer Carter Burwell who contributes another in a long line of great movie scores.

If there was any problem I had with this “True Grit,” it was in the way it ended. We see one character many years later, and the effect is disorienting. It was the same thing that happened at the start and the end of Frank Darabont’s “The Green Mile,” and it just took me out of the moment. The effect wasn’t too bad in this one, but I was hoping to see the actor who played said character get more of a proper send off.

Remaking a movie like “True Grit” seems like the last thing the Coen brothers would ever do, but I believe them when they say this was never intended to be a remake. They stayed very true to the source material and even made the language Portis scribbled down seem very much alive and sharp witted. Whether or not you value Wayne’s take on Rooster more than Bridges’, you have to give the Coens credit for staying true to a book written back in 1968.

The Academy Awards showered a number of nominations for this film including Best Actor for Bridges and Best Picture. While I was happy to see Steinfeld nominated for Best Supporting Actress, I still think it was a travesty she was not nominated for Best Actress instead. Once again, this movie rested on her shoulders, and she was cast in a role which 15,000 other actors auditioned for. Seriously, Best Actress, not Best Supporting Actress. Her male co-stars were supporting her instead of the other way around.

* * * ½ out of * * * *

‘Shine a Light’ – Martin Scorsese’s Concert Film on The Rolling Stones

I have never been to a Rolling Stones concert before. Shame on me for constantly missing out on the opportunity to see them live. Every tour they go on always feel like it will be their last. Even if no one gets all that excited about their recent albums, no one would dare miss seeing them perform onstage. Years after they formed, they still sell out seats like crazy in concert, and some are willing to pay hundreds of dollars to get a decent seat. Heck, as long I have my binoculars with me, I am confident I can get a good view for less than what most people pay. But then again, I still have to spend a lot of money for even a crappy seat at a concert. Come to think of it, I haven’t been to a concert in a long time. Maybe I am saving up too much money!

Anyway, I caught the Rolling Stones documentary entitled “Shine A Light” which was directed by Martin Scorsese. Not only that, but I saw it in IMAX where movie screens don’t get much larger, visuals are never more visually extraordinary, and sound systems capture every single sound no matter how small. At I write this, this may be the closest I ever come to seeing a Rolling Stones concert, but it was still quite the experience. Even after being around for 40 or 50 years, they still put on one hell of a show like few others can. The band members have been beset in the last few years with legal and medical problems. Drummer Charlie Watts had a cancer scare, Mick Jagger continues to father too many children, and Keith Richards continues to astound medical experts everywhere who expected him to be dead by now. But here they are, and they are rocking as hard and with as much love as ever.

Oscar winner Martin Scorsese (it is so nice to finally say this) is a master of musical documentaries, having directed one of the greatest ever with “The Last Waltz” which was about The Band at their very last concert ever and of how they (or Robbie Robertson anyway) wanted to get off the road before the road claimed their lives. “Shine A Light,” however, is not at a film about a band on its last legs. Instead, it is about a band which continues to play with the same love, passion and excitement they had when they started making music so many years ago. It is not an in-depth documentary about the band, but instead a celebration of one of the greatest rock bands ever and their music which even I cannot ever get sick of.

We see the band and Scorsese going over the details and where the cameras are going to be at this documentary’s start. There is even a moment where Scorsese is talking with Jagger via speakerphone and of how Jagger is worried all the cameras will be distracting not just to him but to the audience as well. Scorsese and cinematographer Robert Richardson don’t even get the set list of songs until just seconds before the show begins. Jagger and the band keep going over what songs to play, having so many to choose from. The one thing I have to give them credit for is how they don’t start off the show with one of their most well-known hits like “Start Me Up” or “Sympathy for The Devil.” I guess you could say it makes this more unique than hundreds of other concerts they have performed.

This particular concert was filmed at the Beacon Theater in Manhattan, New York over a two-night period. When “Shine a Light” starts, it only appears as a small square on the enormous IMAX screen. I thought to myself, why did I spend $16 dollars to see this in IMAX? I could have seen it on a regular movie screen and saved myself a couple of bucks, you know? We see the band meeting with Bill and Hillary Clinton and also with Hillary’s mom. Hillary looks very happy here, so this all happened before her current presidential election. This turns out to be quite the star-studded event as Bill Clinton introduces the band himself, as this concert is actually a benefit for the awareness of climate change (which is very real everybody). If you look closely enough, you can see Bruce Willis out in the audience wearing a yellow hat.

But then the concert starts, and the picture goes from a simple box on the IMAX screen to encompassing 100% of it. From then on, we are instantly taken in at how the Rolling Stones is one of the greatest rock bands of all time. They may be eligible for senior benefits, but you wouldn’t know it from the way they perform. During this documentary or concert movie if you want to call it that, we get to see footage of the band from the past. Between songs, we see Jagger in a black and white interview in which he admits how he is surprised the band has lasted as long as it has. And that’s after the band has been together for two years, and he thinks that they will remain together for another year at best.

Seeing the band come onstage and perform their hearts out is inspiring. Age has not affected their love and passion for music, and I think it’s what makes this documentary especially good. No, it doesn’t get deep into the personalities of the band members and what makes them tick. Still, it does show how, even in their old age, they play rock and roll brilliantly. Even Keith Richards, who always looks like he might just keel over any second, still plays the guitar like a master. One too many cigarettes has not taken away from this man or his singing, and he gets his on solo and sings to us like a well-seasoned blues man.

This concert also features some well-known guests performing with the Stones. Among them are Jack White of The White Stripes who sings along with Jagger on “The Loving Cup.” White is no slouch on the guitar or on vocals, but we should have known this after the albums “Elephant” and “Get Behind Me Satan.” But the big treat was when Buddy Guy, one of the great bluesmen guitarists, came out to jam with the band. Richards was clearly a big fan because, at the end of the song, he ends up giving Buddy the guitar he was playing on. You can even hear Richards telling Guy, “It’s yours!”

Even Christina Aguilera is here singing with Jagger to a song which was first written and performed before she was even born. I haven’t bought any of her albums, but there is no doubt she has one hell of a voice. Does she even need a microphone? Her voice alone probably powered the extremely bright lights at the Beacon. That’s how good she was when she sang with Jagger and the others.

Kudos also goes out to the Rolling Stones for being backed up by an array of fantastic musicians. Among them are Darryl Jones of Living Color fame who has been the bass player for the band for over a decade now. There is also the great piano player Chuck Levell, and you may remember him brilliantly stealing the spotlight from Eric Clapton on his Unplugged session on MTV. Granted, the Rolling Stones don’t need all these people to sell out shows, but it certainly adds to this cinematic experience.

Scorsese and Richardson do a great job lighting the band and keeping up with them as they do their thing. The other thing which really added to this experience was the sound system in the IMAX theater I watched this film in. On top of the pristine visuals, the surround sound stereo system sucked you into the experience and made you feel like you were part of the crowd. You felt like people were clapping to the left and to right of you, and even behind you. There were points where I started looking around me to see if the people in the audience were applauding, or if it was just the sound from the film.

This all reminded me of when I saw “U2 3D” a couple of months earlier on the same IMAX screen. The 3D effects made you feel like you were in the middle of the concert. When people put their hands up onscreen, I almost told them to put them down so I could see. Then I realized it was all onscreen and not in the audience. Even though “Shine A Light” was not filmed in 3D, it didn’t need to be. I got sucked into this experience to where you can say you really felt like you were at this concert. It was also a loud film too, and this made me wonder why I didn’t bring any earplugs with me.

In the end, I’m glad “Shine a Light” was not a simple documentary which delved into the psychology of the band members and how they survived the record industry and drugs. The movie is about the fact of after so many years, the Rolling Stones continue to rock harder than ever. This is as certain as Johnny Depp’s character of Jack Sparrow from the “Pirates of The Caribbean” movies was based largely on Richards. It does not, nor should it, matter how old these guys are, but that they rock on with the same love they always have had for rock and roll. You can hear it in their music and see it in their eyes. Jagger continues strutting across the stage as though he was still in his 30’s, Richards still plays the guitar without missing a beat, Wood plays a mean slide guitar, and Watts beats away at the drum as if nothing ever serios ever happened to him. Why does age matter when you have passion for what you do?

I hope I have the same love and passion in what I do as they do in music at their age. I’m pretty sure I won’t need a boatload of drugs to get there, and even Richards would agree with me on this. Or maybe not. I guess it doesn’t matter. Or maybe I should just shut up for now…

* * * * out of * * * *

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 * * * *