Wednesday, December 31, 2008
I always feel that as soon as you introduce the word "best," everyone feels compelled to pick movies with important themes, weighty subjects and serious performances.
Which isn't to say I don't think these films are top of the line: Everyone of them stuck with me in one way or another. It's just by way of explaining why some of the films that seem to be on everyone else's lists aren't here.
Oh, and they're not listed in order of preference or importance. I love them all.
Let the Right One In
Dear Zachary: A Letter to a Son About His Father
The Bank Job
Diary of the Dead
Azur and Asmar
Tuesday, December 30, 2008
I confess, I never saw the show on stage, only as the 2004 movie Andrew Lloyd Webber's Phantom of the Opera. But I don't think it would have made a difference, because my biggest complaint is that the only memerable scrap of music in the entire score is the six-note Phantom theme. And there's no blaming Joel Schumacher for that.
I do like the rumor that Torchwood's John Barrowman is in the running for the role of the Phantom, though. Let's hope his nude swim in Webber's swimming pool gives him an edge.
Born Bernice Lyon in South Carolina, Savage changed her name when she became an actress and worked her way through a series of small parts in undistinguished movies. Poverty-row thriller Detour was shot in a breathless four days on sets so cheap they're barely there, but Savage's seething performance helped make it a film noir classic.
She made a dozen some odd films after Detour and did some television, but her career peaked with the b-movies she made in the 1940s and by the late '50s she was all but done. Married since the early '40s to agent-turned-financier Bert D'Armand, Savage devoted herself to her marriage, which ended with his death in 1969.
In 2006, Canadian filmmaker Guy Maddin, a lifelong fan, persuaded Savage to appear in his phantasmagoric, semi-autobiographical My Winnipeg (2007) as the fictional "Guy Maddin"'s shrewish mother. Thank you, Guy Maddin, for giving Ann Savage the gift of one last memorable part.
Monday, December 29, 2008
Movie Theater Shooting
I grew up loving the experience of going to the movies, but more and more I'd rather just see them at home, and a big part of the reason is that most people now treat movie theaters as an extension of their living rooms and feel free to argue, whisper, eat — and I'm not talking popcorn; I'm talking full meals, with all the noise that entails — ignore their crying babies and and chat/text on their cell lphones the entire time.
Movie theaters aren't churches, but they also aren't basement rec rooms, thank you very much.
Sunday, December 28, 2008
Friday, December 26, 2008
The sultry singer, dancer and actress Eartha Kitt, whose shamelessly materialistic "Santa Baby" (1953) trumped "Diamonds are a Girl's Best Friend" by adding a velvet-throated streak of holiday dyspepsia, died on Christmas day, aged 81.
Born in South Carolina in 1927, Kitt escaped a grim childhood to join the pioneering Katherine Dunham Company, which showcased the talents of African American dancers, musicians and choreographers at a time when they were generally relegated to small, stereotyped comic roles.
Kitt's carefully crafted persona — sexy, sophisticated and devestatingly self-aware &madash; played equally well on Broadway and in cabarets, on TV and records and in movies. In 1967 she took over the role of Catwoman in TV's Batman after Julie Newmar left the show, and seduced a generation of comic book fans.
Throughout her life and career, Kitt defied racism, sexism and ageism to exactly as she wanted. She embraced the role of sex kittne, but never hid her formidable intelligence or well-thought out political opinions, even when she paid the price: Her opposition to the Vietnam War relegated her work in Europe and put her on the FBI's radar.
Eartha Kitt was a true diva, not a spoiled, sulky little girl; she built herself from the ground up and earned everything that ever came to her.
She will be sorely missed.
I confess: I didn't read the papers yesterday because I was busy cooking.
But what a Watchmen bombshell lay buried in the business section of the New York Times: On Christmas Eve, Judge Gary A. Feess (what a name!) announced his ruling that 20th-Century Fox has the right to distribute Watchmen. Merry Christmas Warner Bros., and here's your lump of coal as big as the Ritz.
This Variety article is a good introduction to the legal morass in which Zack Snyder's much-anticipated adaptation of the Alan Moore/Dave Gibbons graphic novel is now mired.
All I can say is, I'm so happy I'm not a Warners executive right now.
Tuesday, December 23, 2008
What band just covered the Chipmunks' "Christmas Don't Be Late?"
a.) They Might Be Giants
b.) Flight of the Conchords
c.) Jars of Clay
If you guessed, you probably got it wrong.
Not only did Christan rockers Jars of Clay cover "Christmas Don't Be Late," as part of the multi-band Love Came Down at Christmas Tour, but frontman Dan Haseltine called it "one of the most important Christmas songs ever written." Really. I read it in The New York Times.
I hearby officially take back anything I've ever said about Christian rockers having no sense of humor. And if Jars of Clay cover the Hampster Dance, I might even buy the album.
And now, on a trivial note, the Chipmunks were created by 50 years ago by musician Ross Bagdasarian, who was going through a bad patch and came up with the idea of a novelty recording using sped-up voices. The result, "Witch Doctor," was a hit:
Okay, maybe you knew that. But did you know Bagdasarian was in Alfred Hitchcock's Rear Window? He appears about halfway through this trailer, as the voice over narrator intones "…the songwriter who plays the same melody over and over again… genius or insane?"
Insane all the way to the bank, I'd say.
Sunday, December 21, 2008
The pilot debuted on March 4, 2001, and the last aired June 1st — apparently viewers just weren't getting with eccentric sidekicks steeped in conspiracy theories. But after 9/11 that first episode, which revolved around a plot to fly a commercial airliner into one of the World Trade Center towers, took on a whole new significance.
Flash forward to December 2008. It's late, I'm half-watching an episode of the old UPN sci-fi series Seven Days (which ran from October 1998 to October 2000) and suddenly I'm seeing smoke pouring from a ruined segment of the Pentagon. Eek.
The episode, "Pinball Wizard," first aired on October 6, 1999, and involves a disgruntled super-programmer who decides to show the US government just how big a mistake it made when it rejected his anti-terrorist defense system. If there's a clip online, I couldn't find it. The episode itself is pretty clichéd stuff, but I don't remember anyone ever pointing out how disturbing the Pentagon footage looks in retrospect.The military's much-derided post 9/11 decision to invite Hollywood filmmakers to meet with representatives of army intelligence and discuss terrorist scenarios seems more reasonable with every passing day.
And now for a bizarre coincidence. A couple of years ago I watched the 1975 thriller The Human Factor, in which programmer John Kinsdale (George Kennedy), who's in Naples tweaking a supercomputer designed to run war-game simulations for NATO, loses his family to political terrorists and takes bloody revenge. It's standard-issue Euro-thriller stuff, even if it was directed by late great Edward Dmytryck (Crossfire, Murder, My Sweet, The Sniper, The Caine Mutiny), except for the name of the computer: 911.
Friday, December 19, 2008
Frankly, I'm a little surprized — the industry isn't big on grim films about politics and war — for one thing, they don't lend themselves easily to all-singing, all-dancing production numbers. Movies like Black Friday, a non-musical about the 1993 Mumbai bombings, are few and far between.
On the other hand, "torn from today's headlines" is a good hook, and however much Indian audiences love movies, there are a lot of them jostling for a finite number of rupees. So stay tuned...
Thursday, December 18, 2008
I see a lot of mainstream Indian movies — or at least, I see a lot for an American critic — so I figured I might as well showcase them.
Right now there are only two reviews up — the new Rab ne Bana di Jodi and the gender-bending comedy of sexual manners Dostana — but I'm going to spend the weekend posting such delights as the 2003 Bhoot (imagine The Exorcist in Mumbai...), the sumptuously Moulin Rouge-like Saawariya (2007) and the just plain astonishing Road (2002), in which an eloping couple pick up the wrong hitchhiker on their trip from Delhi to Jodhpur.
I have such sights to show you...
Wednesday, December 17, 2008
So, just how advanced is it?
Is a placement test necessary? Do I need to bring proof that I hold an advanced degree? Will there be a quiz following the screening?
I don't want to be a super language geek, but certain things drive me crazy.
It's and its. The phrase "based of off." Closure vs. closing (as in, "...and now from shadow traffic, we have multiple closures on the L.I.E...").
And advanced screenings. They're "advance screenings," meaning "in advance of release."
I sometimes feel as though this is Humpty Dumpty's world and I just live in it.
To quote from Alice's Adventures in Wonderland, "When I use a word," Humpty Dumpty said in rather a scornful tone, "it means just what I choose it to mean — neither more nor less."
"The question is,' said Alice, "whether you can make words mean so many different things."
"The question is," said Humpty Dumpty, "which is to be master — that's all."
That was, by the way, written in 1865. Plus ca change..."
Monday, December 15, 2008
AWFJ is an organization of professional female critics, journalists, reporters and academics; it was founded in 2006 to spotlight both women who make movies and women who write about them. This is our third year of giving awards, and in addition to the usual citations we have special categories for films by, about and of particular interest to women, as well as a couple that never fail to provoke um, interesting conversation. Best Depiction Of Nudity or Sexuality, for example... if you want the skinny on that one, scroll down.
Circa Tabac partners Lee Ringelheim and Brian Michaels provided specialty cocktails inspired by four of this year's film honrees: The Slumdog Millionaire mango martini was my favorite, but I saw a gaggle of guests hoisting unrepentently blue Frozen Rivers. Yum. Speaking of guests, they included Frozen River writer-director Courtney Hunt and co-producer Molly Conners; Trouble the Water producer Tia Lessin; Adriana Shaw, President of WomensFilmNet and one of our sponsors; and a cross section of our esteemed colleagues.
And now, on to the awards:
EDA ANNUAL ACHIEVEMENT AWARDS
Danny Boyle, Slumdog Millionaire
Best Screenplay, Original
Wall-E, Andrew Stanton, Pete Docter and Jim Reardon
Best Screenplay, Adapted
Frost/Nixon, Peter Morgan
Best Documentary (Tie)
Man On Wire, James Marsh
Trouble The Water, Tia Lessen, Carl Deal
Best Actress (Tie)
Sally Hawkins, Happy-Go-Lucky
Kate Winslet, The Reader and Revolutionary Road
Best Actress In Supporting Role
Viola Davis, Doubt
Sean Penn, Milk
Best Actor in a Supporting Role
Heath Ledger, The Dark Knight
Best Ensemble Cast
Rachel Getting Married
Best EditingThe Curious Case of Benjamin Button, Kirk Baxter and Angus Wall
Best Foreign Film
Tell No One
EDA FEMALE FOCUS AWARDS
Best Woman Director
Courtney Hunt, Frozen River
Best Woman Screenwriter
Jenny Lumet, Rachel Getting Married
Best Breakthrough Performance
Sally Hawkins, Happy-Go-Lucky
Misty Upham, Frozen River
Women’s Image Award
Kristin Scott Thomas
The Hanging in There Award for Persistence
Melissa Leo, Frozen River
Actress Defying Age and Ageism
Catherine Deneuve, A Christmas Tale
2008 Outstanding Achievement By A Woman In The Film Industry
Sheila Nevins, Producing/Programming at HBO
Lifetime Achievement Award
AWFJ Award For Humanitarian Activism
All the Women featured in the documentary Pray The Devil Back To Hell
EDA SPECIAL MENTION AWARDS
AWFJ Hall Of Shame Award
Actress Most in Need Of A New Agent
Movie You Wanted To Love But Just Couldn‘t (Tie)
Best Of The Fests
Unforgettable Moment Award (Tie)
The Dark Knight: The Joker’s first scene
Slumdog Millionaire: Young Jamal jumps into the poop
Best Depiction Of Nudity or Sexuality (Tie)
Vicky Cristina Barcelona
The Sequel That Shouldn’t Have Been Made Award (Tie)
Indiana Jones and the Kingdom of the Crystal Skull
The Remake That Shouldn’t Have Been Made Award
Cultural Crossover Award
Bravest Performance Award
Mickey Rourke, The Wrester
Best Leap from Actress to Director Award
Helen Hunt, Then She Found Me
Most Egregious Age Difference Between Leading Man and Love Interest
The Wackness, Ben Kingsley and Mary-Kate Olsen
Sunday, December 14, 2008
I'm just back from the annual meeting of the New York Film Critics Online to vote on the most distinguished releases of 2008.
Here are the results — if you have any thoughts about the selections and/or omissions, I'd love to know.
Slumdog Millionaire (pictured above)
Danny Boyle (with Loveleen Tandan), Slumdog Millionaire
Sean Penn, Milk
Sally Hawkins, Happy-Go-Lucky
Best Supporting Actor
Heath Ledger, The Dark Knight
Best Supporting Actress
Penelope Cruz, Vicki Cristina Barcelona
Anthony Dod Mantle, Slumdog Millionaire
Simon Beaufoy, Slumdog Millionaire
Best Foreign-Language Film
4 Months, 3 Weeks, 2 Days
Man on Wire
Best Animated Feature
Slumdog Millionaire, A.R. Rahman
Sally Hawkins, Happy-Go-Lucky
Best Directing Debut
Martin McDonagh, In Bruges
Best Ensemble Cast
Top Ten Films of 2008
A Christmas Tale
The Curious Case of Benjamin Button
The Dark Knight
Rachel Getting Married
Saturday, December 13, 2008
Here's the cool thing, though: I had no idea it was written by veteran Brooklyn-born TV and movie composer Vic Mizzy, whose credits include the theme songs for The Addams Family:
and Green Acres:
I forget the lyrics to everything, but I can remember every word of "In the Middle"... that's how many times I heard it as an impressionable child.
"In the Middle" was covered by They Might be Giants, and this clip juxtaposes the original vocals with footage what I take to be LA traffic. It cuts off abruptly, but you'll get the gist:
Mizzy is alive and well, by the way. If you want to reach him, you can do so at firstname.lastname@example.org.
Friday, December 12, 2008
She spent a few years in the spotlight — a notorious spotlight, to be sure — and decades in obscurity. She wasn't a b-movie starlet or a burlesque queen: She just posed for pictures, professional and amateur, and made spicy loops sold through the back of magazines. She couldn't dance for the life of her, though she made plenty of short films in which she gives it her game best, like this one:
But Page sold men's magazines like a champ, a raven-haired siren with a handsome but human-scale figure in an age when pneumatic blondes were all the rage. And after the old pin ups were supplanted by the ever-more explicit erotica of the 1960s, she continued to inspire paintings, comic strips, tattoo art and fan magazines. Bettie Page was a bonafide star, and women are as captivated as men.
It's all about that wide smile and good-natured sauciness: Page did pictures that would be deemed too mild for Maxim; goofy "comic" spreads that attest to an admirable willingness to look like an idiot while wearing a French-maid outfit; and boondage/fetish photos and films that are pretty racy even by today's standards. But she never had that vacant look that hints at a lifetime of damage, despite the fact that she had more than her share. Page never looked like a hardened gold digger, parlaying what she had into what she wanted; she might have been better off if she'd been more tough-minded about getting paid, but she wasn't.
Page genuinely looked as though she got a kick out of posing in naughty costumes, many of which she designed and sewed herself. She made posing for dirty pictures look like good fun.
Page's self-confidence and can-do optimism were an illusion; much of her later life was blighted by poverty and mental illness. Enterprising fans tracked her down in the mid-1990s, and she finally saw some income from the lucrative industry that had grown around her old pictures. But Page stayed in the shadows, telling interviewers she didn't want to be photographed as an old lady.
She wanted to be remembered as she was, and she is.
Wednesday, December 10, 2008
So I saw it more times than I can remember, and it lodged itself in my brain. In recent years I began to think I'd imagined it. I mean, it seemed so bizarre: Funky music, brassy singer, lyrics warning about sexually transmitted diseases...
But here it is, courtesy of YouTube:
Now try to get that song out of your head. I dare you.
Tuesday, December 9, 2008
Have you seen Deliverance (1972)?
It was a formative experience for me and, like countless others, I was mesmerized by 11-year-old "banjo kid" Lonny, the clearly damaged Appalachian youngster featured in the film's "Dueling Banjos" scene.
I'm the first to admit that my fascination was more than a little voyeuristic and creepy, and I also have to confess that this scene sends chills up my spine to this day, years after I worked on the Deliverance special edition DVD.
So imagine my surprise when I logged into AOL and found a "where are they now" link to the 52-year-old Billy Redden, aka "creepy-banjo-kid."
The past is always with us, I guess.
Monday, December 8, 2008
Beverly Garland was a busty, B-movie starlet and more. She had a successfult TV career, including stints on the 1960s-spawned My Three Sons, '70s parody Mary Hartman, Mary Hartman, '80s light mystery Scarecrow and Mrs. King and '90s prime-time soap Port Charles. But she was much loved for her regular-gal appearances in '50s exploitation pictures like The Neanderthal Man and Problem Girls (both 1953), Killer Leopard (1954), Swamp Woman (1955), It Conquered the World (1956) and Not of This Earth (1957).
Elegant, Dutch-born Nina Foch was a concert pianist before transforming herself into a clasically trained actress. She glided through b-movies of every stripe, including Return of the Vampire (1944) and Cry of the Werewolf (1944), with the slightly distant air of someone destined for bigger and better things. The bigger things never materialized, but she worked steadily in movies and TV until the end of her life, gracing episodes of Navy NCIS and The Closer; that's better -- much better -- than most actors can say.
Two very different actresses, and I'll miss them both.
Sunday, December 7, 2008
Ackerman, 92, died on December 4th, after years of ill health, and 50 years after the first issue of Famous Monsters of Filmland was published. I was never a Famous Monsters reader: I preferred my genre-movie writing a little more serious. But Famous Monsters blazed the trail that produced everything from Cinefantastique to Video Watchdog, driven by the once-revolutionary idea that far from destroying the magic, examining the behind-the-scenes details of moviemaking only enhanced it. Famous Monsters is often rememberd — fondly and not-so fondly, depending on your predilections — for its lame puns and goofy jokes. But it also published phots of make-up artists, actors, special effects crews in the process of creating the movies so dear to genre fans' hearts. Ackerman was devoted to the first wave of classic American horror films, moody, B&W Universal pictures like Frankenstein and Dracula (both 1931). But Famous Monsters gave equal time to AIP's teenage monster movies, Toho's kaiju eiga and Hammer's gothic revamps, all of which spawned their own cults.
Ackerman worked as a literary agent specializing in science fiction, and his client list included Ray Bradbury and L. Ron Hubbard, back when Hubbard was pretending that what he wrote was anything but fiction. Ackerman's fans became filmmakers themselves, Ackerman was given bit parts in dozens of movies, including John Landis' Innocent Blood, Jim Wynorski's Vampirella &mdash Ackerman co-created the blood-drinking beauty from the planet Drakulon — and several each by Joe Dante and Fred Olen Ray.
Ackerman was a collector extraordinaire who started accumulating movie-related materials as a child; while still a teenager, he badgered Universal Studios head Carl Laemmle into giving him the sound disks from Frankenstein and Murders in the Rue Morgue. Ackerman gradually filled the Los Angeles home he dubbed "the Ackermansion" with hundreds of thousands of pieces of movie memorabilia, many donated by friends ranging from Ray Harryhausen to Bela Lugosi, and cheerfullyopened his collection to the public. Sadly, most of his books, props, stamps, paintings, models and posters were later sold to pay medical bills and legal fees (he was enmeshed in a long-running lawsuit with a onetime business associate).
This video interview with Ackerman includes a brief tour of the Ackermansion:
They don't make 'em like Ackerman anymore, and his death makes the world of fandom a poorer place.
Saturday, December 6, 2008
Granted, "Fire Damages Landmark Strip Club" doesn't have the gutter panache of the New York Post's legendary "Headless Body in Topless Bar," but still...
I don't think I ever imagined that L.A.'s Body Shop would rate mention in the Times, let alone designated a "landmark." Amazing.
Friday, December 5, 2008
Please check back soon for Changeling and Milk, two more films I think are likely to figure prominently in the next few months' endless speculation about who's due for a turn in the Oscar spotlight.
Wednesday, November 26, 2008
Monday, November 24, 2008
Thursday, November 20, 2008
Tuesday, November 18, 2008
Monday, November 17, 2008
I first caught Last House back in 1972 in Times Square, where it shocked purportedly unshockable audiences and passed directly from trash movie to pop-culture icon.
MGM Home Entertainment is putting out a new DVD at the end of February 2009 and frankly, I can't wait to see it: It's one of those movies that change the way you see movie and even expurgated versions have the power to shock.
More later, as I uncover details...
Saturday, November 15, 2008
It starts at noon at the Tribeca Cinemas, located at 54 Varick Street (at Canal). If anyone's in the neighborhood, please stop by!
Friday, November 14, 2008
Wednesday, November 12, 2008
I vividly remember the first Ray Bradbury story I ever read: It was The Small Assassin, about a toddler who decides to murder his parents. Elegant and creepy at the same time -- good stuff!
So I got a kick out of the fact that he's playing guest programmer for Turner Classic Movies on Novermber 20th. He's picked four films, and he'll be on air with TCM's Robert Osborne to explain why.
The films are:
The 1925 version of Phantom of the Opera, with Lon Chaney (8PM EST)
The Chaney version of Hunchback of Notre Dame, from 1923 (9:45PM EST)
Alfred Hitchcock's 1940 Rebecca 11:45PM EST)
Orson Welles' 1941 Citizen Kane (2AM EST)
I'll be interested to hear what he has to say about the first two: I'm betting he saw them in theaters when he was a child and they made a hell of an impression. And frankly, the look of Chaney's Phantom is a keeper -- I just saw it referenced a few weeks ago on the cover of the New Yorker (see above left), illustrating a story about the current economic freefall.
When an image more than 80 years old has that kind of potency, attention must be paid!
Tuesday, November 11, 2008
The festival runs from November 13th through the 16th: Here's more detailed info. I was recently a judge at the New York Asian Film Festival, and it was a blast. So I expect this one to be even more fun, given my lifelong passion for the genre.
One film has already jumped out fo the pack of movies in competition for its sky high "what the f**k" factor, which was the gold standard to which old-school Times Square habitues like myself held grindhouse movies. High WTF factor didn't necessarily mean a movie was good... it just meant you had never, ever in all your born days seen that before. And this particular movie was a pleasant surprise because it was made by someone whose first feature (which ranked high on the WTF scale of the day -- no mean feat back then) was released more than 25 years ago. I love to see a mature filmmaker prove that s/he still has the power to make jaws drop!
Thursday, November 6, 2008
Suffice it to say that the highlight of my day was having a hissing cockroach crawl across my hand and hiss in my ear.
Next up: Judging a festival close to my heart -- more info tomorrow.
Wednesday, November 5, 2008
Listening to the director and one of the stars talk thoughtfully and in some detail about the various choices and decisions they made before, during and after shooting was a vivid reminder that not only do most people not set out to make bad movies, but they often invest an enormous amount of time, thought and emotional energy in projects that isn't necessarily reflected in the finished product.
Neither was slinging self-deluded, blowing-smoke puff and prattle. They're both talented, serious individuals and their reasons for doing particular things -- from the way certain lines were delivered to details of set design -- were all intelligent, interesting and made perfect sense. Make no mistake, I still have the same problems with the finished film, but I was reminded how hard it is to make movies, how many ways things can go wrong and how lazy and pandering lot of current movie reviewing has become.
There are plenty of movies out there that are made by committee and driven by market research. The people behind them aren't out to make bad movies per se, but they're also not trying to make good movies either, unless you define "good" purely as "could make a lot of money." I don't have much sympathy for them though, that said, I've been on sets where individual actors and crew members were doing their damnedest to make something they could be proud of, even though they knew the project they were working on was junk.
Ultimately what matters is what winds up on the screen, and no one likes feeling that the time and money they spent going to the movies was a total waste. That is, of course, one of the reasons there are movie critics.
But a lot of so-called movie criticism is flip and snippy and ignorant. There are all kinds of bad movies, and it's a critic's responsibility to differentiate -- an ambitious movie can turn out as badly as a formulaic cash-in on a popular star, timely theme or cynical cash in. That doesn't mean they should all be dismissed with the same snarky one-liners.
Tuesday, November 4, 2008
Wanted to let you know that tomorrow -- yes, November 5, the day after election day, when the entire nation will be nursing a vicious post-campaign hangover -- I'll be at the Avon Theater in Stamford, CT, hosting a screening of Nicholas Roeg's 1980 Bad Timing: A Sensual Obsession, complete with post-film Q&A.
If any of you are in the area, it would be great to see you
Sunday, October 26, 2008
To put not too fine a point on it, WGS is bughouse crazy, and I mean that in the best possible way. From Carey's deranged performance as an insurance salesman turned rockabilly idol turned presidential candidate to Frank Zappa's music. Yes, the Frank "Weasels Ripped My Flesh" Zappa, three years before his debbut album
Carey had a solid career as a character actor -- directors like Stanley Kubrick and John Cassavetes loved him. He was Method to the nth degree, had a knack for getting himself fired for acting like a freak and regularly made Dennis Hopper look like a model of restraint and modest decorum.
WGS, released (if that's the word) in 1962, was Carey's intensely personal statement about religion, politics and rock 'n' roll, and while I can't say it's good in any conventional sense of the word, it's astonishing. Carey plays Clarence Hilliard, a happily married father of two with a suburban house, a horse, a dog and a cheerful Mexican gardener named Alonzo.
In the throes of a midlife crisis, Hilliard quits his job selling insurance, renames himself God and starts spreading his own religion -- whose core tenet is that there is no God but man -- through rockabilly concerts.
And it just gets nuttier.
WGS's ultra-low budget is apparent, but Carey's performance as a pop messiah is mesmerizing, albeit in a road wreck kind of way. And he's on to something, no two ways about it: Today it's a given that politics, entertainment and shadowy special-interest groups are hopelessly intertwined, but WGS was made at the height of the Kennedy Camelot era. Whatever it's limitations, Carey's film was seriously ahead of its time.
I recommend seeing it on a double bill with Peter Watkins' equally cynical and more technically polished Privilege (1967), which New Yorker Films just put out on DVD a couple of months ago.
Plus ca change, as the French like to say.
Friday, October 24, 2008
And then there's stealth release Passengers, starring up-and-comer Anne Hathaway: It slunk into theaters like a mongrel dog, and there's a reason.
Both reviews are here.
Wednesday, October 22, 2008
Moore, who died on October 19th at the age of 81, was hilarious, profane, outrageous, offensive and a genuine original. His movies were cheap, broad and hugely influential; Snoop Dogg has declared that he wouldn't exist without Moore. He certainly would have made Bones, his 2001 homage to Petey Wheatstraw, Abby, Sugar Hill (and her Zombie Hitmen) at al.
Others can say more about Moore than I ever could, and here's a good place to start.
Thursday, October 16, 2008
Wednesday, October 15, 2008
Tuesday, October 14, 2008
I've been having some technical difficulties -- you know, new site growing pains -- but I promise I'll be back on Wednesday with new content and maybe even a sneak preview of some things I'm lining up.
Thanks for sticking with me!
Thursday, October 9, 2008
Then the genre went into a slump -- the bust portion of a regular boom-and-bust cycle -- and die hard fans like me had to pick our way through mountains of direct-to-video/DVD junk in hopes of finding a gem or two.
That's not to say that everything that opened in theaters was top of the line: Far from it. But the experience of seeing a scary movie in the dark with a bunch of psyched up horror fans made up for a lot of mediocrity.
This year, however, is looking good: The animated omnibus film Fear(s) of the Dark on October 22, Saw V and the Swedish vampire movie Let the Right One In on the 24th, The Haunting of Molly Hartley and the couples-on-the-run thriller Splinter on the 31st.
And it all kicks off this weekend, October 10, with Quarentine, the US remake of Spanish filmmakers Jaume (Darkness) Balaguero and Paco Plaza's 2007 [REC].
[REC] is a lean mean little movie, an uncompromising cross between Diary of the Dead and The Blair Witch Project. I'll be seeing Quarentine tomorrow, and I'll post reviews of both films.
I plan to go all out for Halloween!
Wednesday, October 8, 2008
Monday, October 6, 2008
I know this may not mean much to the younger generation of horror buffs, but when I was growing up, Hammer was the alpha and the omega of all things Dracula and Frankenstein and Quatermass… I saw their early films on TV and their later ones, like The Creeping Flesh (1973), in theaters. Hammer introduced me to cruelly sexy vampires and demonically possessed vampire slayers. Hammer made me a fan of Christopher Lee, Peter Cushing, Anton Diffring, Oliver Reed and too many others to count. Hammer sent me scurrying to libraries and used bookstores for novels by Bram Stoker, Mary Shelly, J.S. Le Fanu , Josephine Tey (via Paranoiac, a shamefully uncredited adaptation of her haunting psychological thriller Brat Farrar), Guy Endore, Dennis Wheatley and others.
Hammer had its ups and downs, but it helped shape my ideas about horror movies. The first serious book about horror movies I bought as a teenager was David Pirie's A Heritage of Horror: The British Gothic Cinema 1946-1972, and much of its appeal was how much it had to say about Hammer (and yes, I've already ponied up for his A New Heritage of Horror because really, how could I not?).
Make no mistake: I'm not a pie-eyed optimist about the new Hammer.
But it warms my heart that such a storied named has, like Dracula, risen from the grave.
Sunday, October 5, 2008
Though I've left TVGuide, I'm still here!
Please send me your movie questions and visit www.missflickchick.com for my take on all things movies, especially horror, exploitation and obscuriana!