Repo Man.

Review #2338: Repo Man.

Cast:

Harry Dean Stanton (Bud), Emilio Estevez (Otto Maddox), Tracey Walter (Miller), Olivia Barash (Leila), Sy Richardson (Lite), Vonetta McGee (Marlene), Richard Foronjy (Arnold Plettschner), Susan Barnes (Agent Rogersz), Fox Harris (J. Frank Parnell), Tom Finnegan (Oly), Del Zamora (Lagarto Rodriguez), Eddie Velez (Napoleon "Napo" Rodriguez), Zander Schloss (Kevin), and Jennifer Balgobin (Debbi) Written and Directed by Alex Cox.

Review:

"Nuclear War.  Of course. What else could it be about?  And the demented society that contemplated the possibility thereof.  Repoing people’s cars and hating alien ideologies were only the tip of the iceberg.  The iceberg itself was the maniac culture which had elected so-called “leaders” named Reagan and Thatcher, who were prepared to sacrifice everything — all life on earth — to a gamble based on the longevity of the Soviet military, and the whims of their corporate masters."

Admittedly, it isn't every day you get to cover a director who basically used up Hollywood for a few movies and then got shuttered into independent work in the span of a decade. Cox was educated at the University of Bristol in film studies and got a scholarship to UCLA with its School of Theater, Film, and Television. Repo Man came about when Cox approached two UCLA friends about producing a film (since they were doing commercials), having failed to get a script about a World War I deserter off the ground. Cox wrote a script about nuclear blast veterans and thieves that was thought of as too expensive, so he then went on a script that was based on "my own personal Los Angeles horrors" along with a neighbor that happened to be a repo man. A key influence was also a script called "Leather Rubberneck" that had been written by an acting student named Dick Rude that had insight about punk culture (incidentally, Rude plays a minor character in this film). Eventually, "Repo Man" attracted enough attention to get Universal Pictures to do distribution, although the studio dragged its feet in actually releasing the movie for a time (to the point where the soundtrack probably had more to do with the movie getting out than anything). The movie was a light success at the time it was released in 1984. His second venture with Sid & Nancy (1986), a loose biopic of Sid Vicious and his relationship with, well, Nancy Spungen, has become a cult curiosity in recent times. Straight to Hell (1987) wasn't exactly a commercial hit (he elected to make it rather than Three Amigos), but any movie that tries to play Spaghetti Western with cameos that revolve from Dennis Hopper to the Circle Jerks can't be all bad. And then there was Walker (1987), a movie released by Universal Pictures that was filmed in Nicaragua during the Contra War loosely based on the life story of William Walker (a "president of Nicaragua") that received polarized reviews and got Cox on a "blacklist" from the major studios when it came to distribution. Cox could not find a job in Hollywood because of the failure of the film and also because he was blacklisted from the Writers Guild because of his work on scripts during a strike in the late 1980s. Cox persisted on with productions that would be made in a variety of places such as Highway Patrolman (which premiered in its native Mexico in 1991), Liverpool productions in Revengers Tragedy (2002), "microfeatures" in Repo Chick (2009) or crowdfunded ventures with Bill, the Galactic Hero (2014). Overall, Cox has directed thirteen films (with plans for a movie of the novel Dead Souls possible, even in his seventies) while also serving as a professor in film production and screenwriting at the University of Colorado at Boulder for a number of years.

For a feature debut, this is a pretty slick movie. It will vary a bit in how much time it takes to really get into its satirical bent, but it ends up delivering a few good laughs with a worthwhile atmosphere that seems strangely in-tune to the times of now when it comes to the wide variety of characters one sees in the film that range from working men with habits (read: speed) to punks to strange travelers that wander in and out of the plot while one can see packages of food or drink with generic labels (evidently there was a time when one really could just buy generic-brand stuff at a market). Basically, it is the kind of movie that would fit right in being paired with Suburbia (1983) or a Roger Corman type of feature, complete with abject paranoia built right in. The days of living by codes or standards are flying by the wayside so one might as well live with the chaos that reigns free in "society among us". Estevez achieves that tightrope that arises in detached timing that sells the disillusionment that comes in growing youth and seeing hucksters all along the path that makes for a few good amusing lines, mostly because he sells the trip in actual commitment to what a punk looks like without just being a mug. Stanton has the disposition of a guy ripped out of a Western that he sells for a grizzled sense of charm and, well, humor in causal intensity, one that actually has a quote about hating ordinary people, which, well, it does kind of ring true for a certain type of working man. The rest of the cast is comprised of a few good kooks that range from Harris and basically being a man of both the background and foreground (consider where the movie jumps after the start) or the wide expression in Walter. The 92-minute runtime coasts along with confidence for its quirky characters and blend of genres for a fun time to think about when it rides off to the climax. Cox had an idea for a sequel in the late 1990s but never got to do it the way he wanted. Named "Waldo's Hawaiian Holiday", it was adapted into a graphic novel in 2008. In general, what we have is a pretty decent comedy that runs the gamut in punk flavor for expressing a howl at the times one is living in when it comes to consumerism and the presence of nuclear war in the face of all absurdities for a strange little fable.

Overall, I give it 8 out of 10 stars.

Might as well update you with the upcoming stuff ahead as we march onto the last few days of New Director Month:

Pedro Almodóvar - Women on the Verge of a Nervous Breakdown 

Todd Haynes - Safe (1995). 

However, I have a special surprise coming up on Sunday, after not being able to do so last January. Be ready.

Redux: Batman (1989).

Redux #040: Batman (1989)

Cast: 

Jack Nicholson (Jack Napier / The Joker), Michael Keaton (Bruce Wayne / Batman), Kim Basinger (Vicki Vale), Robert Wuhl (Alexander Knox), Pat Hingle (Commissioner Gordon), Billy Dee Williams (Harvey Dent), Michael Gough (Alfred Pennyworth), Jack Palance (Carl Grissom), Jerry Hall (Alicia Hunt), Tracey Walter (Bob the Goon), Lee Wallace (Mayor Borg), and William Hootkins (Lt. Max Eckhardt) Directed by Tim Burton.

Review: 

"I liked parts of it, but the whole movie is mainly boring to me. It's OK, but it was more of a cultural phenomenon than a great movie." - Tim Burton

If you remember correctly, 1989's Batman took the world by storm when it was released in June of 1989 in ways that have not been forgotten when it comes to blockbusters and comic book movies. Michael E. Uslan, inspired by reading Batman comics as a kid, had a desire to make the definitive version of Batman that had been envisioned by artist Bob Kane and writer Bill Finger when they created the character in 1939. Uslan was a fan of the main character alongside the family of villains, and he even taught a class about comic books at Indiana University. Of course, when Uslan first approached DC Comics about making a movie, they thought it was a crazy idea, because the character's popularity had diminished in the years that followed the cancellation of the 1966 television series, which certainly was still in the public consciousness for the character (which makes sense, as the Adam West interpretation certainly matched the era to a T). Uslan cultivated his movie credentials by working at United Artists (after graduating law school), and he credit DC head Sol Harrison as a mentor in getting the process to a good start - the rights to Batman were bought by Uslan and Benjamin Melniker in 1979, aligning with producers Jon Peters and Peter Guber (it should be noted that Guber and Peters, hairdresser-turned producer and possible scumbag,  manipulated their way to be main producers in getting a deal with Warner Brothers that sent Uslan and Melniker to executive producers with only "net profits"). Uslan even wrote a script with a friend to try and give people an idea of what he wanted to make to counteract the preconceived idea from doubtful skeptics along with a "creative blueprint" memo, complete with having Jack Nicholson in mind for the Joker. Warner Bros. decided to serve as the studio to produce Batman in 1980, but their attempts to have a script by Tom Mankiewicz (contributor on the Superman movie in 1978) did not go well. At any rate, pre-production stalled until 1986. Warner executive Bonni Lee got Burton to join in on the project, helped by the success seen in his work on Pee-wee's Big Adventure (1985) for the studio, although the success with Beetlejuice (1988) gave the formal greenlight in 1988. Burton, at the suggestion of Peters, picked Keaton to play Batman because of their work together on the latter film, one that he felt would have the audience suspend its belief and take the actor seriously. He also stated that the locale of Gotham City had to be just as important a character for the movie to work. Steve Englehart and Julie Hickson each wrote film treatments before a screenwriter was hired. Sam Hamm wrote the story (alongside side work done by Burton, without credit), but the screenplay was done by Hamm and Warren Skaaren. Rewrites were done by Skaaren with others, excluding Hamm due to a strike by the Writers Guild of America. Influences included stories such as Alan Moore & Brian Bolland's The Killing Joke (a story that Burton personally loved in understanding the mythology) and Frank Miller's The Dark Knight Returns. Bob Kane worked as a consultant on the film (coincidentally, he credited Finger, who died in 1974, as a "contributing force", although Finger was not given proper credit until 2015). Peters tried to mold Burton in his image when it came to making a Batman that he didn't want to be thought of (in his words) "Wussman", complete with making suggestions for the climax, which originally involved a different character meeting their end, and he actually commissioned a 38-foot model of a cathedral for the characters to be for said climax. At any rate, Peters and Guber did not return to produce the sequel, but they reaped the benefits of being behind one of the biggest blockbusters of its time; as his third feature film, Burton described the filming process as "torture", but he returned for the sequel in 1992.

When I saw this film originally in 2011, I was a fourteen-year-old trying to write quickly and write what I liked on the spot with a movie. Long story short, those reviews aren't great, so a redux movement is slowly building up steam by me to get as many redux-es possible for reviews I feel deserve better. This one, even with 200 words for what was somehow called a 10/10 movie, seemed very ripe for a second look. Actually, it is a third look, because I did watch this movie a couple of years later to try and refresh my memory, which didn't exactly help this movie too much. The third time around has basically confirmed that the best memories about a movie are sometimes left to younger eyes. Burton thought that the best way to approach the movie is to see Batman and Joker as essentially two of a kind in odd freaks that are intertwined in origin. Anton Furst and Peter Young designed the sets for the film, which shows an Art Deco style that makes Gotham seem reminiscent of something like The Cabinet of Dr. Caligari (1920) or noir. You have to understand that people actually thought that casting Keaton was going to make it seem like a comedy because of his work on stuff like Mr. Mom (1983). It is interesting to consider that because of the fact that Keaton approaches the material with righteous timing and balance required, even if one seems to think that he is overshadowed by you-know-who - him going "you wanna get nuts?!" is an interesting highlight when thinking of the fair blend of seeing the deeper-voiced Batman and the unassuming Bruce Wayne. Of course, the high-priced and high-billed Nicholson steals the show, because playing an agent of chaos that grins his way through the proceedings is a role to dream for that he stretches right to form. This isn't to say that it is a hammy performance as it is just one that controls the mood of the movie that might as well make it his movie more than Keaton's movie. Basinger does fine with the balance between the battle of freaks, bewildered but not washed out; the scene where she waltzes into the Batcave doesn't exactly help. Apparently, Wuhl's character was meant to die in the climax, but the filmmakers liked him so much they let him live. That is probably the best compliment I can find when talking about him in this film, because the less said about him, the better. Hingle and Gough don't have too much to particularly do, but at least one takes them seriously for what is needed. Williams in theory should be really interesting, but since there would be no more Williams as the character of Dent, it comes off as ridiculous to have him cast but not actually do anything (besides, Walter is the amusing quiet man in the group). 

Maybe there is an argument that the movie might be a bit too dark for younger folks. This is ridiculous, since I doubt that one will really have this much trouble with a PG-13 rated movie like this in just letting the visuals play out on screen; one could also just stick with the West version of Batman, since it also holds up well, incidentally. Danny Elfman, best known for his work with the band Oingo Boingo alongside Burton's previous two features, did the music, albeit with Prince composing and writing songs as well. The music score ends up sticking better than the songs, because one clearly won't forget the main theme. As a whole, the 126 minutes does go by with loose construction, one that tries hard to ride on style rather than substance, which only can go so far before falling all the way off the offbeat wayside. Seeing the origin for the Joker is far more interesting than the eventual reveal of the Wayne murder, because it makes things too convenient to have two characters create the origin for each other (i.e., having a random guy being the killer is far more tragic than just finding out it is the guy you happen to be going off to face and probably take down). I think the fact that the success of the movie inspired the development of an animated series for television probably is more of a point in the favor of the legacy of the film in what it impacted rather than the overall content of the film itself (the series, premiering in 1992, is arguably the best portrayal of Batman outside of the comics). It is a roaring adventure that builds a mystery with fair success for haunted spectacle with Burton's sensibilities clashing with other visions to make a strange concoction that lives and dies in the time it was made. It is the movie that tried to top the heights raised by Superman (1978), pure and simple. Of course, whether the movie works or not in its execution is up to you. 

Overall, I give it 8 out of 10 stars.

The Silence of the Lambs.

Review #1498: The Silence of the Lambs.

Cast:
Jodie Foster (Clarice Starling), Anthony Hopkins (Dr. Hannibal Lecter), Scott Glenn (Jack Crawford), Ted Levine (Jame "Buffalo Bill" Gumb), Anthony Heald (Dr. Frederick Chilton), Brooke Smith (Catherine Martin), Diane Baker (U.S. Senator Ruth Martin), Kasi Lemmons (Ardelia Mapp), Frankie Faison (Barney Matthews), Tracey Walter (Lamar), Charles Napier (Lt. Boyle), Danny Darst (Sgt. Tate), Alex Coleman (Sgt. Jim Pembry), Dan Butler (Roden), Paul Lazar (Pilcher), Ron Vawter (Paul Krendler), and Roger Corman (FBI Director Hayden Burke) Directed by Jonathan Demme (#1254 - The Manchurian Candidate (2004))

Review:
"I realized the actual bottom line truth of doing Silence of the Lambs, something I felt when I read that book. I thought, this could be the scariest movie ever, and I wanted to make that movie. I wanted to make a Psycho caliber fucking terrifying movie."

As the first (and so far only) horror film to win an Academy Award for Best Picture, the inevitability for covering this film was high, particularly since the character of Hannibal Lecter is particularly well-known across film and novels over the years. This is adapted from Thomas Harris' novel of the same name, originally published in 1988 as the follow-up work to Red Dragon, which had been adapted into a film by Michael Mann under the name Manhunter (1986). The follow-up book Hannibal (1999) and the other book would be turned into films with Hopkins as Lecter, while the prequel Hannibal Rising (2006) would be turned to a film with Harris as screenwriter, and a Hannibal series followed a decade after that. Fitting that a horror film like this would come from an acolyte of Roger Corman (who even cameos in the film) with Jonathan Demme. He met Corman while doing publicity for Von Richthofen and Brown, and Corman was interested in Demme to do work for him at New World Pictures. The result was Angels Hard as They Come, which Demme produced and co-wrote with Joe Viola. He then directed his first work with the studio as director with Caged Heat (1974). Over the years he had a steady career of films, such as Melvin and Howard (1980), Something Wild (1986), and Married to the Mob (1988).

Despite the failure with audiences at the time of Manhunter (now regarded as a cult classic), there was still interest in turning the next Harris novel into a film, although the initial plans was apparently going to have Gene Hackman directing/starring in it (various others were considered for both lead roles, such as Sean Connery and Michelle Pfeiffer). Hopkins came about in interest because of his doctor role in The Elephant Man (1980). With a dark sense of gravitas and two killer performances from Hopkins and Foster, it is no wonder why this proves to be a great classic. It finds a balance between suspense and horror that drives through every beat and procedure with relish and entertainment. It is amazing to think about how solid of a performance Hopkins draws from such an unsavory but relentlessly fascinating presence, particularly since he only occupies a certain amount of time in the film that doesn't even run to thirty minutes. And yet here we are, still captivated and engrossed by what we see of him (such as in the numerous close-up shots of his face) as the calmest and most brilliant terrors of the human mind. On the other side of such interesting conversations is Foster, who proves quite dedicated and useful in focus of the drive for curiosity with regards to the dark parts of the human mind. She makes a resourceful presence that never seems lost within the madness. Glenn proves just as sharp in reasoned authority, while Levine rounds out the main group with creeping finesse in his lurking moments, and the others prove worthy in keeping the stakes level. On the whole, while the sequences with Hopkins and Foster are easily the most memorable of the film, the film holds up just as well in driving one in pursuit and skin-crawling with no pretensions whatsoever. The thrills can be quite entertaining like any other movie, but it is in that chase that really gives one a good jolt in their seat, and it is easy to see why this became imitated and well-known. It has a capable director in staging scenes with useful impact to go with a game cast that makes the most of their surroundings for a good time of carefully executed thrills that prove as effective nearly three decades later.

Overall, I give it 10 out of 10 stars.

City Slickers.

Review #808: City Slickers.

Cast
Billy Crystal (Mitch Robbins), Daniel Stern (Phil Berquist), Bruno Kirby (Ed Furillo), Patricia Wettig (Barbara Robbins), Helen Slater (Bonnie Rayburn), Jack Palance (Curly Washburn), Noble Willingham (Clay Stone), Tracey Walter (Cookie), Jeffrey Tambor (Lou), Josh Mostel (Barry Shalowitz), David Paymer (Ira Shalowitz), Bill Henderson (Dr. Ben Jessup), Phill Lewis (Dr. Steve Jessup), Kyle Secor (Jeff), Dean Hallo (T.R.) Directed by Ron Underwood.

Review
On the 25th Anniversary of this movie's release, I decided that it would be a good idea to make a review for it and ultimately it turned out to be a great idea. City Slickers is not just a well-made comedy, it is also a movie with layers of drama that manages to give it enough weight to make for a truly entertaining film. The main trio (Crystal, Stern, Kirby) have good chemistry with each other, managing to share some good moments of screen together; one of my favorites is when they are talking about their best (and worst) days, mainly because we get a glimpse at what made them feel their happiest (along with their lowest), as they are trying to capture that spirit again. The movie never feels contrived in either its comedy or its drama, always managing to keep a balance. Naturally, the supporting cast is also a key highlight, with Palance standing out easily, with his first scene having him rope a character to a fence, complete with that chiseled look of his He plays the role with simply and effectively, without any ounce of fakery, and he certainly works well with Crystal, particularly when trying to deliver a calf. He doesn't have all too much screen time, but he is certainly memorable enough and excellent to the core, and his performance managed to snag an Oscar. There is a certain appeal to what these characters are going through, with them trying to use a dude ranch (disguised as a mythic kind of fantasy) to solve their problems, as weird as it may seem. You get to feel for these characters, while also having a laugh at the lines and gags that make up an enjoyable movie. I'd recommend seeing it, one for the jokes, and one for the other elements that give it much needed weight.

Overall, I give it 9 out of 10 stars.

Movie Night: Conan the Destroyer.

Review #624: Conan the Destroyer.

Cast
Arnold Schwarzenegger (Conan), Grace Jones (Zula), Wilt Chamberlain (Bombaata), Olivia d'Abo (Princess Jehnna), Mako (Akiro), Tracey Walter (Malak), Pat Roach (Man Ape/Toth-Amon), and Sarah Douglas (Queen Taramis) Directed by Richard Fleischer (#460 - Doctor Dolittle)

Review
Back in my review of Conan the Barbarian (#323), I may have hinted that I would review the sequel right after I reviewed the first film (My transcript even proves this: Conan would be successful in his own right, with momentum for a sequel. But that is another tale that...shall also be told. With regrets either before or after watching it.)...but I didn't. Instead, I reviewed Commando, and looking back, that might have been a blessing in disguise. So 301 reviews after the first one (Reviewer announcement: The rating for #323 will be changed from 7 out of 10 to 8.), here we are with the sequel (BTW, props to IFC for showing this film, they're a quirky network, but any place that shows Batman is a winner in my book.), with less emphasis on violence and more humor (because that's what was truly missing from the first film, a sidekick character). So yeah, the movie is significantly more campier, and it loses the brutal awesomeness of the first film, though at least Arnold looks like he's trying. The main problem is that we get a typical quest fantasy film that would be fine, if this wasn't a Conan film, where action is overblown, but massively entertaining. The cast is okay, but Walter does get on your nerves eventually. Seriously though, was a comic relief sidekick really necessary for a film like this? The answer is no. At least the action is fine, for a film as hokey and disappointing as this. I know this sounds redundant, but check out the first film, at least that had a midnight drive in charm, this just has a "pandering to families" feel. And before you point out that I just referenced the 1960's Batman show and then criticise this film for stuff that the show did, the show (and the movie) had a charm of its own, made in a simpler time, while this film was toned down from its awesome roots to a mediocre disappointment. There are apparently plans for a sequel, which is honestly surprising given that it's been over 30 years since this film, but anything is possible. Watch at your own risk, then go check out the books, I guess. Movie Night supports reading (obviously), of any sort.

Overall, I give it 5 out of 10 stars.

Movie Night: Matilda.

Review #179: Matilda.

Cast
Mara Wilson (Matilda Wormwood), Danny DeVito (Harry Wormwood/Narrator), Rhea Perlman (Zinnia Wormwood), Embeth Davidtz (Miss Honey), Pam Ferris (Agatha Trunchbull), Brian Levinson (Michael Wormwood), Paul Reubens (FBI Agent Bob), Tracey Walter (FBI Agent Bill), Kiami Davael (Lavender), and Jacqueline Steiger (Amanda Thripp) Directed by Danny DeVito.

Review
This film was based of the book Matilda by Roald Dahl, who we have covered before (#131 - Willy Wonka and the Chocolate Factory). Anyway, this film is has some changes to the film from the book, but what book to film doesn't have these problems? The acting is decent, especially from Wilson, Ferris, and DeVito. Speaking of him, the directing is decent, but what I find a bit odd is the occasional close up shots. They only work if you have something to show, these are just plain weird by any standards. The film has charm that while being a bit off at points is still an entertaining film.

Overall, I give it 8 out of 10 stars.