‘Cry Macho’ Movie and Blu-ray Review

Posted on December 11, 2021 by The Ultimate Rabbit

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

“Cry Macho” shows a more sensitive and vulnerable Clint Eastwood looking back on his film career and life. After all, this is the 50th anniversary of his working relationship with Warner Brothers. He has always been a patient filmmaker known for gorgeous scenery and knowing how to get the most out of each and every scene. Roger Ebert once said Eastwood’s films are a prime example of old-fashioned Hollywood craftsmanship. The fact Eastwood is 91 and still directing and acting in films is truly astounding and surreal. This is a quiet, peaceful and contemplative film. As an actor, he has always known how less is more. He’s never been an overly loud or showy actor, and he knows the best way to get an emotional reaction out of the audience is through his face.

This film is set in 1979 as Eastwood plays Mike Milo, a retired rodeo star who has turned to booze and pills due to a broken back. His ex-boss Howard Polk (Dwight Yoakam) calls in a favor with Mike after all he’s done to support him throughout the years. He wants Mike to go from Texas to Mexico and bring back his thirteen-year-old son Rafo (Eduardo Minett). Howard claims he can’t go there for legal reasons and because of trouble with the son’s mother. Mike will do this job as a one-time favor for Howard, but he has his reservations about the situation. He wonders if Howard’s son will come with him and how he’s going to pull this off.

Upon entering Mexico, he runs into Howard’s ex, Leta (Fernanda Urrejola), who claims he can take her son if he’s able to find him. In her eyes, he’s getting into trouble all of the time and spending too much time at cock fights with his rooster named Macho. Rafo doesn’t trust anyone, especially Mike, but he’s interested in reconnecting with his father and getting away from his mother and her many male suitors. Many of these men have beaten Rafo in the past, and he wants to get as far away from that as possible.

Along the way, Mike, Rafo and Macho have to escape from police officers as well as Leta’s goons. They have car issues and also have trouble connecting with each other at times. On the other hand, Mike sees a chance at redemption with Rafo in that he can make up for the mistakes of his past. He sees something special in Rafo, especially with how the kid has been forced to grow up very quickly because of his upbringing. They do get some help along the way from a widow named Marta (Natalia Traven) and her grandchildren. There might even be a little bit of a love story between Marta and Mike as well.

First and foremost, let’s talk about the good things in “Cry Macho.” The film is beautifully paced. Eastwood is known as a director who usually shoots scenes in one-take. There is something very authentic and real about his films. There is a sense of time and place throughout the film. He’s the major star here, and he’s still got it at age 91. At times, he does appear a little frail, but I’m going to chalk that up to the character he’s playing having broken his back. His comedic timing, line deliveries and charisma are still on full-display. He’s a minimalist actor, as mentioned earlier, which I’ve always appreciated.

Now, let’s focus on some of the issues. Dwight Yoakam has acted before in films, but he reads his lines here in such a bland and flat manner. Also, some of the lesser-known actors here are a little green when it comes to their acting chops. In some cases, it lends itself perfectly to the film. In other cases, it can be a little cringy and hard to watch. When you have a seasoned pro like Eastwood, you are hoping to see him act alongside some really good actors. It’s always good for up-and-comers to get an opportunity in a major motion picture, but even at age 91, Eastwood is miles ahead of them. In some scenes, it was difficult to watch their inexperience, and in other scenes, it’s charming and exactly what the scene needs. Overall, this is not one of Eastwood’s greatest films, but it’s watchable, sweet and entertaining. It is good enough.

* * * out of * * * *

Blu-Ray Info: “Cry Macho” is released on a single-disc Blu-ray from Warner Brothers Home Entertainment. It has a running time of 104 minutes and is rated PG-13 for language and thematic elements. It also comes with a digital copy of the film.

Video/Audio Info: The film is presented in 1080p High Definition. For the audio, it comes in the following formats: DTS-HD MA: English 5.1, Dolby Digital: English Descriptive Audio, French, and Spanish. Subtitles are included in English, French, and Spanish.

Special Features:

Back in the Saddle: The Making of Cry Macho and the Mustangs

Should You Buy It?

As with anything on HBO Max, I always enjoy a second viewing on Blu-ray. I find I’m the type of viewer who likes to watch certain films multiple times to really grasp the vision of the director. With “Cry Macho,” once again, I enjoyed it more on a second viewing. It’s heartfelt, touching, and reflective on the part of Clint Eastwood. He gives a great speech about being “macho” and what it really means. It feels like Eastwood has evolved as a human being, and he’s commenting on some of his past work. As far as the film itself, it was an enjoyable viewing experience. It is nothing which is going to blow you away as a viewer or stay with you after it’s over. The Blu-ray is pretty bare bones in terms of having only one special feature. I can’t recommend it as a purchase right away at its current price. If you can get it in a few months for $10 or less and you are a big Eastwood fan, I’d pick it up then. There is no need to rush out to buy it right away.

**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.

‘Those Who Wish Me Dead’ Movie and Blu-ray Review

Posted on August 12, 2021 by The Ultimate Rabbit

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

I remember being blown away when I walked out of the theater after watching Taylor Sheridan’s 2017 directorial debut in “Wind River,” which he also wrote. He’s an accomplished writer having written such films as “Sicario,” “Hell or High Water,” and also a number of episodes of “Yellowstone.” While “Those Who Wish Me Dead” is not as powerful and emotional of a film as “Wind River,” it still shows he has a great eye behind the camera and knows how to get powerful performances out of his actors. He also knows how to build suspense while also keeping a lean pace to his films. I look forward to what he has up his sleeve next as a writer and director.

Even though he shares the screenwriting credits with Michael Koryta (based on his book of the same name) and Charles Leavitt, his touches are still all over this film. With any thriller, you need to capture the attention of the audience right away. Sheridan does this by introducing us to Hannah, played brilliantly by Angelina Jolie. Jolie has always been an underrated actress, but here, she gets to show off her acting chops in an impressive and understated fashion. Hannah is still traumatized by the fact that in her role as a smoke-jumper, three young lives were lost. She feels completely responsible for it, even though there is always more to the story. Many nights, it is hard for her to fall asleep comfortably without horrible nightmares.

Hannah, however, gets a chance to redeem herself when she stumbles upon an injured and scared 12-year-old boy named Connor (Finn Little), who is all alone due to circumstances beyond his control. Together, they form an unlikely pairing where they must work together in order to stay alive, as Connor has some information which two very bad men are looking for, and they will stop at nothing to obtain from him. Even though Hannah has the training and the skills, it’s difficult when there is a tremendous fire heading their way at the same time. This is a film which starts off by allowing us to spend time with the characters, get to know them and care about them. It’s one of the reasons why it is so effective.

Finn Little and Jolie work so well together. At first, Connor wants nothing to do with Hannah and pushes her away. When he realizes it’s a 12-mile trek to get any help, he quickly realizes he has no choice. Even though there are horrible lighting storms going on and this intense chase, Sheridan takes time to allow the audience to have a laugh here and there along with some tender moments. There is also a side story involving Hannah’s ex, played perfectly by the always reliable Jon Bernthal. He still cares about Hannah and her well-being, but he’s also involved in a committed relationship and has a child on the way with Allison (Medina Senghore).

The bad guys are played by Nicholas Hoult and Aidan Gillen. They do a great job in portraying the villains without trying too hard to where they are over-the-top characters. It is more the threat of violence and their presence. Going back to the overall film, I’ve always enjoyed a thriller which knows how to have a good running time. This film runs at 100 minutes, and there is never a dull moment. It didn’t need to be any longer or any shorter, and it is fine exactly as it is thanks to the performances, the pacing and the action. They all work together so well.

I wasn’t quite sure what to expect with “Those Who Me Dead,” but it did remind me what a tremendous actress Jolie is and reinforced the fact that Sheridan is a director who is going to be making more thrilling action films in the future I look forward to watching. The stakes are high and, as an audience member, we feel that urgency. He’s also emotionally investing time in his characters, so we are happy to spend time with them. We are also rooting for them and care about their fate. This is one of the better films I’ve seen in 2021 so far.

* * * ½ out of * * * *

Blu-Ray Info: “Those Who Wish Me Dead” is released on a single disc Blu-ray from Warner Brothers Home Entertainment. It runs at 100 minutes and is rated R for strong violence and language throughout. It also comes with the digital copy as well.

Video Info: The film is presented in 1080p High Definition, and the picture is crystal clear, bright, and incredibly vivid.

Audio Info: The audio comes in DTS-HD MA: English 5.1, Dolby Digital: English Descriptive Audio, French and Spanish. Subtitles are in English, Spanish and French.

Special Features: Making Those Who Wish Me Dead

Should You Buy It?

“Those Who Wish Me Dead” is a great star vehicle for Angelina Jolie, and she knocks it out of the park. As a matter of fact, the cast, top to bottom, is great and there is not a weak link in it. Finn Little really holds his own in his scenes with Jolie. I don’t think the film works without their chemistry. They have a strong bond together. It’s a gorgeous film to look at, and it’s great entertainment. I highly recommend you pick this film up the next time you are out at your local retailer. You won’t regret it. It’s one of the more surprising movies of 2021.

**Disclaimer** I received a Blu-ray copy of this film from Warner Brothers to review for free. The opinions and statements in the review are mine and mine alone.

‘The Lone Ranger’ – Hi-yo Silver, What the Heck?

Posted on February 8, 2021 by The Ultimate Rabbit

Like so many, I grew up watching “The Lone Ranger” on television and listening to the old-time radio show as well. John Reid, whether he was wearing a mask or not, was a paragon of justice, and seeing him and his faithful sidekick Tonto defeat the bad guys was always deeply satisfying. I was reminded of how much I liked this character while watching Gore Verbinski’s “The Lone Ranger” because I kept asking myself, who is this buffoon that has no business being around a horse during this movie?

Hollywood has had little luck in getting a respectful version of “The Lone Ranger” up on the silver screen, and this supposed 2013 summer blockbuster is the latest example. At two and a half hours, this film is a bloated mess which could have easily been shortened. It sticks its talented cast with a bland story, an uninteresting villain, and it can never seem to figure out if it wants to be a lighthearted adventure or a deadly serious film. Sadly, it is not until the last half hour when this “Lone Ranger” finally comes to life.

This “Lone Ranger” is yet another origin story about how this iconic character and Tonto first met and joined forces to bring justice to the American Old West. John Reid (Armie Hammer) is a lawyer and former Texas Ranger who joins up with his brother, Dan (James Badge Dale), to recapture the ruthless outlaw Butch Cavendish (William Fichtner) who has just escaped. In the process of tracking Butch down, John and Dan are ambushed by him and his law-breaking friends, and he mercilessly takes Dan’s life as well as another part of his body from him. John is assumed to be dead, but Tonto (Johnny Depp) finds his body and nurses him back to health so they can avenge Dan’s life and defeat Butch before he does more harm.

Look, I try to enjoy movies for what they are as opposed to what I want them to be, but I found myself wanting to see a much different version of “The Lone Ranger” because the iconic character is not given the respect he deserves here. I came out of this film feeling sorry for Hammer who is a very good actor and was terrific as the Winklevoss twins in “The Social Network,” but he is forced to portray John Reid as a buffoon and wimp who has no business trying to bring any bad guys to justice. Hammer has some funny moments, but the screenplay by Justin Haythe, Ted Elliott and Terry Rossio robs his character of many of the heroic qualities we love the Lone Ranger for having.

Come on, this is a movie about the Lone Ranger, so why not make it about the character we know him to be? Just like “The Green Hornet” which Seth Rogen and company really messed up, this is a film that blatantly forgets what makes its well-known characters so special. Regardless of the current controversies Hammer is currently enduring, his acting career has fared much better than Klinton Spilsbury’s did after he starred in ill-fated “The Legend of the Lone Ranger.”

As expected, Johnny Depp gets top billing even though he is playing the sidekick in this film because, well, he’s Johnny Depp. While he may be the best thing about “The Lone Ranger,” his performance is a bit problematic. Depp said he chose to play Tonto so he could right the wrongs of the past in terms of how Native Americans are portrayed in the media. While I really want to say he succeeded, I’m not sure he did. He is clearly having a lot of fun playing Tonto, but the character threatens to come off as a comical caricature than a believable Indian. I have no doubt that Depp has Native American blood in him, but it would have made much more sense to get a full-blooded Native American to play Tonto instead.

But in the midst of such comical mischief between the Lone Ranger and Tonto, we get to learn about Tonto’s backstory which involves tragedy and Native American genocide. It is at this point when the movie’s tone becomes completely erratic as it can’t seem to decide whether it wants to be funny or serious. While I would never dare to gloss over the damage we did to Native Americans, this grim history belongs in another movie and not this.

“The Lone Ranger” also starts off with another side story which has a young boy named Will (Mason Cook) visiting a San Francisco county fair where he runs into an elderly Tonto who proceeds to tell him about his adventures. The movie keeps coming back to these two time and time again, and this ends up slowing its already sluggish pace down to a grinding halt. These scenes could easily been cut out of the film because they really serve no good purpose and only make us wish this was much shorter.

William Fichtner remains one of the most dependable character actors working today, but he is unfortunately saddled with portraying a bore of a villain in Butch Cavendish. The character’s makeup basically spells out how this is one very bad dude who never visits the dentist, and it’s almost like Fichtner is letting the makeup do all the work. There’s really not much to this character other than he’s just another evil outlaw, and this gives Fichtner no real opportunities to make him the least bit interesting.

As for the other actors, Ruth Wilson gets to play Dan Reid’s obligatory love interest, Rebecca, and she is given little to do other than be in constant danger. Tom Wilkinson is a welcome presence as railroad tycoon Latham Cole, but it’s no surprise to see what his character ends up becoming. And while it is cool to see Barry Pepper as U.S. Calvary Officer Jay Fuller, his character is just another one of those clichéd corrupt military characters who is just asking to get beaten up. As for Helena Bonham Carter, she is wasted in a bit part as brothel madam Red Harrington. While I love seeing Carter pop up in one role after another, this movie does not deserve her.

Verbinski runs into many of the same problems which undid “Pirates of the Caribbean: At World’s End” as it goes on for far too long, contains characters we never fully care about, and it doesn’t take long for us to give up on trying to understand the plot. While he is indeed a talented filmmaker, and the first “Pirates of the Caribbean” movie really was fantastic entertainment, I thought after “At World’s End” he would rein things in more than he tried previously. That he did not accomplish this makes this cinematic experience all the more frustrating.

Regardless, I have to admit that I loved the movie’s last half hour where Verbinski executes a number of brilliantly staged action sequences. Once the “William Tell Overture” music started blasting through the speakers, I found myself being immensely entertained. This was “The Lone Ranger” movie I wanted to see, the one where I was genuinely thrilled by this masked man’s crime fighting ways. This proved to be so much fun, but while this spectacle went on, I could not help but ask myself why the rest of this motion picture could not be this entertaining.

“The Lone Ranger” was not the worst movie of 2013, but it was still pretty close to being the biggest stinker of all. While it was not as boring as “The Great Gatsby” nor as abysmally bad as “The Hangover Part III,” this should have delivered far more bang for the buck. Westerns have taken a big hit over the years with poorly received duds like “Wild Wild West” and “Jonah Hex,” and this film is not going to help matters any. This was the first Lone Ranger movie in over 30 years, and now it looks like we’ll have to wait twice than long for the next one to be made.

Hi-Yo, Silver! Away from Hollywood!

* * out of * * * *

No, I Haven’t Seen It Until Now: ‘The Grey Fox’

Posted on June 11, 2020 by The Ultimate Rabbit

I remember when this film came out in 1982. I was a big fan of movie review shows like “At the Movies” back then, and the scene where Bill Miner tells an unsuspecting passenger about how he used to rob stagecoaches always stayed with me. As a result, when the opportunity came to watch “The Grey Fox,” which Kino Lorber has just re-released in a new 4K restoration, I jumped at the chance. The question was, do I put this film in the “No, I Haven’t Seen It Until Now” category of this website, or in the one known as “Underseen Movies” as it has been said the film only grossed $5 million worldwide. Well, considering how I remember when it was first released 38 years ago, I think the former category makes the most sense.

“The Grey Fox” stars Richard Farnsworth as Bill Miner, a stagecoach robber who eventually became known as “The Gentleman Bandit” after masterminding 26 robberies and for originating the command, “Hands Up!” As the film opens, Bill is being released from San Quentin Prison after a 33-year prison sentence, and he is also heading straight into the 20^th Century, a period in time which he may not be the least bit prepared for.

Bill seems to get off to a nice start as he takes a train ride where a fellow passenger shows him a device which peels apples very quickly, and he seems amiable even when he tells this passenger how he once robbed stagecoaches. But while his sister gives him the warmest of welcomes, her husband, well aware of his past crimes, is not quick to show Bill the same kind of welcome. Bill is eager to show him he is worthy of his attention, and the next day he begins a new job which has him shucking oysters.

Things look to be going okay, but then Bill sits down in a movie theater which is playing “The Great Train Robbery,” the classic film which is especially famous for a scene where an actor shot his gun right at the camera. As we look at Bill’s face, we see a passion arise in him to where he becomes intent on resuming his previous career sooner than later. His sister begs him to stay, but he tells her, “I have ambitions in me that just won’t quit.”

Most films from the 1980’s take their sweet time in showing their main character start off being released from prison and adjusting to life as a civilian before giving up and returning to a life of a crime. Back then, you did not need to speed everything along to get to the good stuff, and learning of a character’s history and experiences proved to be rewarding in a way which added to the cinematic experience. Of course, as time went on, filmmakers are obligated to move through the story at a rapid pace even if we do not have time to catch our breath. What is interesting here is how the filmmakers of “The Grey Fox” do not hesitate to move past Bill’s attempts to live as a peaceful civilian in very quickly in order to see him return to his previous occupation as a robber. If there were any other 80’s films which pulled off such a feat, I have yet to watch them.

In many ways, “The Grey Fox” is an anti-western along the lines of Robert Altman’s “McCabe and Mrs. Miller” as Bill’s exploits are not as spectacular as this genre may suggest. His initial efforts to rob trains of their valuables proves to be unsuccessful as he is confronting by those who are not quick to give up anything without a fight. While his exploits may have made him infamous in the past, he is now living in an age which is far more eager to stop crime than celebrate it. As a result, he flees to Canada to see if he can have more success there as his passion for adventure usurps most other desires in his life.

“The Grey Fox” was directed by Phillip Borsos who had previously found tremendous critical acclaim in Canada with his short films “Nails,” “Spartree” and “Cooperage.” “The Grey Fox” marked his feature film directorial debut, and it proved to be a resounding triumph as he created a wonderful character study of a man trying to survive in a time he is not fully prepared to live in as he goes back to what made him famous, or infamous, in the first place. Along with cinematographer Frank Tidy, he perfectly captures the beauty of the Canadian wilderness which anyone can get lost in, and serves to illustrate how isolated Bill has been over the years. I have yet to view this film on the silver screen as the world is still in the grips of the Coronavirus (COVID-19), but I do hope the day will come when I can.

Borsos would go on to direct “The Mean Season” which starred Kurt Russell, and anything with Kurt Russell in it has got to be worth seeing. His last film was “Far from Home: The Adventures of Yellow Dog,” an innocent adventure film which came out at a time when younger audiences were starting to get more cynical about the family movies being released in theaters. I remember when an English teacher I had in college remarked at how the film’s trailer was playing and of her observing teenagers a couple of rows ahead of her who remarked at how it looked “lame.” She would go on to say how our generation was being mediatized to where we had been forever robbed of our innocence.

What a shame Borsos’ life got cut short at the far too young age of 41 following a battle with acute myeloblastic leukemia. He still had a lot to give to us from behind the camera.

But let’s be honest, the real star of “The Grey Fox” is indeed Richard Farnsworth who is unforgettable to where it makes perfect sense why he was cast as “The Gentleman Bandit.” Having started out as a stuntman who later became an actor and appeared in movies such as “Gone with The Wind,” “Red River” and “The Wild One,” he had already been working in show business for years when he got this role. Vincent Canby was correct in describing “Farnsworth” as being “remarkably appealing with a face the camera adores.” The actor, who passed away back in 2000 after a painful battle with cancer, certainly had a face which had life written all over it, and it is the kind of face Hollywood does not value as much as it used to.

Farnsworth creates a lived-in portrait of a man who is famous for being a robber, but who ended up spending more time behind bars than he did robbing stagecoaches. From start to finish, he nails the complexities of Bill Miner who proved to be a genuine, thoughtful, gentleman-like, loving, and at times quite the dangerous individual. And those eyes of Farnsworth’s are beautifully indeed as he lets us into his soul to show a life still yearning for adventure and a connection with someone which can possibly give him something to live for other than robbing trains.

The actor also has some terrific scenes opposite Jackie Burroughs who portrays feminist photographer Katherine Flynn. They have instant chemistry together, and their dialogue feels real, genuine and not the least bit manipulative. When the truth of who Bill is comes to the surface, we can see in Burroughs’ eyes how Katherine cannot simply tear herself away from him. Bill is one of the more unique individuals she could ever hope to meet, and Katherine knows she will likely never meet someone like him ever again, so why stop things there?

Well, it took me almost 40 years to sit down and watch “The Grey Fox” after that movie clip I saw on “At the Movies” was forever burned into my conscious mind. I think it is safe to say it was well worth the wait. Lord knows I would never have appreciated it on the same level when I was 7 years old, so it’s nice to catch up with it now long after my view of movies had evolved to another level. It is a beautiful relic which deserves to be embraced by a new generation of film buffs. I do hope you take the time to see it whether in a theater or by virtual cinema. With this new 4K restoration, it is now more beautiful than ever.

* * * * out of * * * *

Please click here to visit “The Grey Fox” page at the Kino Lorber website.

Billy Crystal Talks About Working with Jack Palance on City Slickers

Posted on March 7, 2020 by The Ultimate Rabbit

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

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

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

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

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

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

Posted on July 24, 2019 by The Ultimate Rabbit

Django Unchained movie poster

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*** * * ½ out of * * * ***

Kirk Douglas Looks Back at ‘Lonely Are The Brave’

Posted on December 9, 2016 by The Ultimate Rabbit

lonely-are-the-brave-poster

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

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

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

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

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

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

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

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

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

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

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

No, I Haven’t Seen It Until Now: The Searchers

Posted on August 4, 2016 by The Ultimate Rabbit

The Searchers poster

Continuing my education in the westerns of John Wayne, for those of you who read my review of “Rio Bravo,” we come to an even greater one called “The Searchers.” It is a beautifully filmed movie directed by the great John Ford, and it stars John Wayne in what may very well have been his greatest onscreen performance ever as Ethan Edwards, a Civil War soldier coming home to a tenuous welcome. When his brother Aaron (Walter Coy) and his family are massacred by Comanche Indians, he sets off on a mission of both revenge and rescue as he discovers one of his nieces may still be alive. Along with him on this journey are the Texas Rangers led by the Reverend Captain Samuel Clayton (Ward Bond) and a step-nephew named Marty (Jeffrey Hunter) whom Ethan wants nothing to do with.

Like I said, this is a beautifully filmed western by Ford, and it is the first of his films I have watched. I can see why it is one of Steven Spielberg’s all-time favorite films, and I wonder if Ford’s other films are as beautifully shot as this one was. We get to see wide shots of barren fields which are soon covered by snowfall. Ford makes the passing of time seem all the more evident as we go from one season to another, and we feel the years passing these characters by as they refuse to give up on their quest. It gets to where we are as desperate as them to find those innocent souls who were kidnapped.

Wayne said of all the roles he played, he considered Ethan Edwards to be his best. As a result, he later named a son of his Ethan in a respectful homage to this film. Wayne is simply amazing here as a Confederate soldier who does not feel the need to swear an oath to Texas since his work as a soldier is far more important. Ethan is not an entirely likable person, and neither Wayne nor Ford hide the fact that he is pretty racist. But you cannot help but stay with Ethan on this journey because there’s little doubt he is justified in his pursuits.

Wayne has many amazing moments in “The Searchers,” and the strongest ones are when he doesn’t say a word. He may appear tough and resolute one moment, but in the next shot his eyes betray the worry and hurt that tear away at Ethan’s soul. Ethan’s life was torn apart when his young after the Comanche Indians attacked his family, and it has filled him with an unapologetically raw hatred towards them. There’s a powerful moment where we see Wayne coming in from someplace he was searching, and he looks like he is about to collapse in horror. We find out later why he was acting the way he did, but what he shows without saying anything leaves a lasting impression that you cannot get out of your head.

The main relationship Wayne’s character has throughout “The Searchers” is with Marty, and he is played by Jeffrey Hunter who is best remembered as Captain Christopher Pike from the original pilot of “Star Trek.” Marty sticks with Ethan despite Ethan’s cold dismissal of him throughout due to his biracial heritage, but Ethan needs Marty to keep him in check. Ethan’s racism is so deeply rooted to where it could force him to take actions he may spend the rest of his life regretting. Marty soon comes to understand why Ethan would rather see a family member dead than have them be defiled by a Comanche.

Watching “The Searchers” today might seem odd because the movie at times threatens to be as racist as Wayne’s character. It was made back in the days of cowboys and indians, but the main villains here are only one tribe of indians as well as double-crossing white men who should have known better. Not every Indian in this movie is presented as a bad guy. In fact, one of the best moments comes when Marty finds he has inadvertently married an Indian woman when he thought he was just buying a sweater. When we later see the fate of that Indian woman, we learn more about why Indians end up attacking each other over territory.

The movie is filled with incredible vistas Ford captures in all their glory, and I’m convinced that viewing it today is as exciting as when it first came out. I wonder if any other filmmaker today can accomplish what Ford did. We see characters grow from the start all the way to the finish, and Ethan comes to see he has gained a lot of respect for Marty to where he is prepared to give everything he has to him should he be killed. They never really become friends, but they rely on each other more than they would ever admit out loud. There is a lot of heart in this movie behind all that bravado which never covers up the fierce insecurity of its characters.

The Searchers doorway

The final shot of Wayne standing in the doorway while the sun and wind bear down on him is one of the greatest moments in cinematic history, and it stays with you long after the movie is over. It says everything you need to know about Ethan as he is a man destined to walk this earth alone, but who will always be doing his job as a soldier till the day he drops dead.

I’m not sure what else I can say about “The Searchers” that has not already been said. I have absolutely no doubt that this is one of the greatest westerns ever made, and it is clearly one of the defining movies of Wayne’s career. Although some may find the Ethan’s racist attitudes too much to bear, there is still so much to enjoy and be enthralled by. I was never in a hurry to see “The Searchers,” but I’m really glad I finally did.

*** * * * out of * * * ***

No, I Haven’t Seen It Until Now: ‘Rio Bravo’

Posted on July 31, 2016 by The Ultimate Rabbit

I have a confession to make; for years I had never seen a John Wayne western before. I was certainly aware of who he was and of how he is seen as an American hero to many. There is an airport in Orange County named after him, and it houses an enormous statue of him in his western gear that towers over all those taking a flight out of there. Wayne is as conservative as an actor can get in Hollywood, and there are certain people I know personally who don’t want to watch his movies because of that. But come one, we’re here to watch a movie, not debate politics! If I can sit through a Chuck Norris movie, there’s no reason why I can’t see a John Wayne movie.

“Rio Bravo” was directed by Howard Hawks and it is widely regarded as one of the greatest westerns ever made. It was made by Hawks and Wayne as a “right wing response” to “High Noon” in which Gary Cooper played a sheriff who urged the townspeople to join him in defending the town they live in. In “Rio Bravo” Wayne plays Sheriff John T. Chance, a man who has no time at for amateurs and will deal only with professionals who know what they are doing. That should give you a good idea of how pissed off Wayne was at Cooper.

The plot revolves around Chance guarding a prisoner named Joe Burdette (Claude Akins) who murdered another man at a bar for no good reason. Working with Chance are an old cripple named Stumpy (Walter Brennan) who is always complaining about something, the town drunk Dude (Dean Martin) who spends the movie sobering up, and the new kid in town Colorado Ryan (Ricky Nelson) who is quick on the draw. They are waiting for the marshal to arrive to take Burdette away, but his brother Nathan (John Russell) will not rest until he is freed. Nothing beats brotherly love when you want to keep your sibling from being someone’s best friend, in a manner of speaking, behind bars.

“Rio Bravo” is essentially a big buildup to a final a violent confrontation between the Sheriff and Nathan where bullets fly in all directions. We see these characters going about their normal lives and the Sheriff starting up a subtle romance with the new woman in town, Feathers (Angie Dickinson). Most action movies today would demand filmmakers cut out the character developments and simply go right to the action. It is rare to see a movie like “Rio Bravo” made today as filmmaking gets more faster paced to where we keep losing the art of subtlety.

I see why Wayne was such an incredibly strong presence in movies. He handles the dialogue well, but his best moments come when he doesn’t say a word. There is a moment where he glares at someone he doesn’t recognize as friendly, and he keeps staring at him until the nameless man walks away. Like Chance, Wayne had a face with a lot of history written all over it, and few others could pull off a scene like that so effectively.

You could tell that, like his characters, Wayne had been through a lot in life, and this added immeasurably to the “don’t mess with me” attitude he exhibited onscreen. He was never some pretty boy actor trying to get the ladies, but a seemingly down to earth guy doing his part to serve and protect others.

The other actor who impressed me here was Dean Martin who played Dude, the once famous gunslinger who has spent way too much time drinking to ease a broken heart. Maybe it’s because I have this view of Martin being a member of the Rat Pack to where I thought it completely overshadowed him as an actor. I figured he was more of a star than an actor, but his performance here proved me wrong. Martin takes his character from what seems like an eternally drunk state to a world of sobriety he struggles to keep up with. It’s a battle he can never fully win, but he tries to stay on the right track and Martin makes you root for him throughout.

I can also see why Ricky Nelson was cast here. A big rock star at the time, he was probably cast to help this movie appeal more to women who were crazy about him at the time. Nelson may never have been a truly great actor, but he is very good here as the new kid out to help the Sheriff in times of trouble. Nelson plays it cool here, maybe too cool at times, but you believe he is quick on the trigger.

But the big scene stealer here is Walter Brennan who plays Stumpy. All Stumpy can do is guard the jail with his shotgun and from behind closed doors, and he can be seriously trigger happy if you don’t let him know you’re right outside those jail doors. Every other line he said throughout the movie had the audience I saw it with at New Beverly Cinema in hysterics. The moment where he does that quick impression of Chance had me laughing my ass off.

This is also the first movie I have ever seen directed by Howard Hawks. He shoots with an economy of style and doesn’t overburden “Rio Bravo” with too much style and overlong shots a lot of show-off directors tend to employ. His focus here is on the characters and how they interact with one another. This makes the action more exciting as we come to care about these characters to where we don’t want them to get hurt.

Director John Carpenter pointed out how one of Hawks’ strongest attributes as a filmmaker is his inclusion of strong women. The example of that in Rio Bravo is in the form of Angie Dickinson’s character of Feathers who proves to be the only person in the entire movie who can tame Chance. You never doubt Feathers to be an independent woman who can get by on her own terms. She’s tough, and yet Dickinson manages to bring some vulnerability to Feathers where she doesn’t always appear trustworthy.

The scenes Dickinson has with Wayne are strong, and she succeeds in bringing out his vulnerabilities to the point where he can’t help but appear a little goofy. This is all despite the fact that Wayne was 51 and Dickinson was 26 when they made this movie. It turns out Wayne was very nervous about the love scenes in regards to the age difference. Then again, I don’t think I would have noticed their age difference unless someone pointed it out to me.

“Rio Bravo” is filled with many memorable moments not easily forgotten. The moment where Dude takes out a shooter in a bar is a brilliant one you never see coming. The shootouts are still exciting as hell, especially when good use is made of a flower pot being hurled through a window.

One of my favorite moments comes when the men come in harmony together as they sing “My Rifle, My Pony and Me.” It reminded me of one of my favorite moments from Steven Spielberg’s “Jaws” when Roy Scheider, Richard Dreyfuss and Robert Shaw sang “Show Me the Way to Go Home.” I love those moments in films when people find a way to come together despite whatever differences keep them apart.

I found “Rio Bravo” to be an excellent western, and it’s no surprise to me that it is one of the most influential westerns ever made. It certainly holds a strong place in the cinematic history of westerns, and it endures to this very day. Of course, Hollywood in its infinite wisdom will probably end up remaking it after they have pillaged all the horror franchises they can. That’ll be the day!

*** * * * out of * * * ***