Kent’s Movie Diary: Doctor’s Orders

Seeing as how I was laid up for a short time, I thought maybe it would be a good time to bring back my Movie Diary segments. Maybe not a good idea, but a good time.

This will be a somewhat long one, folks.

I took advantage of some sales last month and put together a large pile of things I had never seen before, including some that I’ve been meaning to catch up on because I’ve been making my way through series or lists. I wanted to make everything I watched 20 years or older, for no particular reason other than the mood I was in at the time.

By GeorgeTo start with, I finally knocked the last couple of “Connery-Era” Bond films off my List o’ Shame, in quotation marks because, of course, there’s the singular George Lazenby entry in there, with On Her Majesty’s Secret Service and Diamonds are Forever. Having seen them, I have to wonder why ol’ Laz has gotten so much crap over the years,
receiving the title of “Worst Bond” from the same kind of philistines who apparently helped keep Roger Moore’s tired antics on the screen for a decade. For me, he was a breath of fresh air in a film that harkened back to the first couple of 007 outings, alike as films which may have moments of camp, but camp that exists because of changing social attitudes rather than a purposeful stylistic decision. The later is what we received from Diamonds and You Only Live Twice.* Lazenby is cocksure and capable without being a superman, which I appreciated. It’s also easy to see why Diana Rigg is the only Bond girl who could coax 007 into matrimony, however short-lived. For a great example of doing this wrong, see Spectre and his leaving at the end with a paper-thin character that he has no reason to care for.

Diamonds are Forever, on the other hand, makes the mistake of jumping into the kind of But Connery wasn't. material that the Batman TV show did so well and almost nobody else. It isn’t a total loss, thanks to Connery’s wasted charms, but he seems to mostly be sleepwalking through the role for his paycheck. It’s no wonder he left for good after this one. And no, we’re not counting Never Say Never Again. A fan has to wonder how different things may have ended up if Lazenby had stuck around, given the uptick in quality and adult themes his film experienced. Given my distaste of the Moore films which followed, and the more or less complete loss of the loose continuity that had previously held them together with the Spectre threat, I haven’t made any plans to continue with my chronological viewing. At some point I may go ahead and finally dig into the Dalton titles and the couple of Brosnans I skipped, but I’m in no hurry.

Drive angryAnother checklist I wanted to put a couple more ticks in is the filmography of John Carpenter. Sure, I’ve seen most of the films considered to be his best, but even his less regarded films from the 70s and 80s are generally considered to be interesting, at the very least. I began with what he considered to be a “work for hire” job, his adaptation of Stephen King’s Christine. While I can’t claim that it’s a lost classic, I can say that it doesn’t get enough due, because it’s a slick little film that keeps most of the best parts of the novel intact while dropping much of the filler and the eye-rolling plot-points. Instead, we get a lean horror thriller with plenty of signature Carpenter touches; along with some things I wish he’d done more of.

For example, he does a fantastic job of assembling a soundtrack for his film. Given his propensity to score most of his work himself, he didn’t do much in the way of needle drops, but he probably should have let himself play around with that option more often.** For instance, I’ve never been a particular fan of Harlem Nocturne, but Carpenter’s use of it in the film, to score Christine’s regeneration after a brutal beating from a gang of ruthless townies, is absolutely perfect. The effects are also spot-on, using hydraulics and (one assumes) reverse photography to bring the Plymouth Fury to supernatural life. If you’ve avoided the film because he has been dismissive of it or because it doesn’t have the kind of reputation that his masterpieces do, I recommend you give it a shot anyway.

Melty Face will eat your soulPrince of Darkness is a little tougher to sell. It’s definitely more of a low-budget curiosity. I did enjoy it, and will watch it again, but it’s easy to see why it’s always been more of a cult film, even among his fans. It starts out with the promise of being a bit more of an intellectual horror film. The basic premise posits that the physical embodiment of Satan is a mass of goo kept in the basement of an abandoned church in LA. It goes on to make use of anti-matter, the multi-verse theory, tachyon projection, and even a bit of “Chariots of the Gods” lore in its story, but uses it in service of what ends up essentially being a low-key zombie flick. (Old-school lackey voodoo-style zombies, not Romero-style.) Unfortunately, the different parts of the film are too at odds with each other to truly work the way his best stuff does.

The look of the film is also distinctive, as they used wide-angle lenses with the widescreen composition to create images that often seem to move in and out of focus. I can’t speak to whether it works on the big screen (unfortunately, not many people can, since it wasn’t exactly a huge hit) but again, it doesn’t truly work when I was watching it on blu ray. Maybe the size of the screen makes a big difference. What does work are many of the performances. Donald Pleasance, Victor Wong and a number of his regular stable of actors make appearances in the film and they put forth a wonderful effort.

Gwangi the Genie?Oh, and I finally have seen the last of the “canon” Ray Harryhausen films, thanks to Warner Archive’s release of The Valley of Gwangi. I enjoyed the cowboys vs. dinosaurs tale, even as I mourned the loss of each and every giant lizard. Essentially, it’s a King Kong tale which centers around a nearly unreachable valley in Mexico, near where a flailing wild-west show has set up camp. They find what were supposed to be long-extinct animals and, despite a few setbacks, everything would be fine with their plans if not for some south-of-the-border Gypsies who threaten cosmic retribution, but resort to sabotage to prove their superstitions true. As usual, the effects are top-notch with the stop-motion critters making for the best part of the movie. Thanks to the Warner Archive imprint for upping their output with some really interesting stuff. I recently preordered Ride the High Country with Randolph Scott and a promising Z-grade atomic monster feature about a murderous tree. Keep it up, guys! Any chance of Night of the Lepus anytime soon?

Meet the family. Jules and Verne.I opened up the third (and seemingly last) Vincent Price box set from Scream Factory and one of the films I took in was Master of the World, another Roger Corman production with a Richard Matheson screenplay. What’s interesting about this one is that it’s A) not a horror film and B) an entry in the Jules Verne adaptation wave that started in the late ‘50s, which I’d never heard of before now. I still have a little less than half of the set to watch yet, but the thing I’ve surprisingly enjoyed most is an hour-long TV special called An Evening with Edgar Allen Poe. The video toaster graphics can’t disguise how brilliant Price is, as he delivers four monologues based on some first-person works of Poe: The Sphinx, The Telltale Heart, The Pit and the Pendulum and The Cask of Amontillado. Of them, I’d say Heart was the best, but the way he builds most of the pieces to a crescendo is masterful.

The Dude and The SquintAnother actor I’m a fan of is Clint Eastwood and, after watching the fantastic Dirty Harry series, I’ve been wanting to check out more of his earlier work. When I read the description of Thunderbolt and Lightfoot, it sounded up my alley. A caper film with Jeff Bridges and George Kennedy? Sure, count me in. Unfortunately, the whole thing is way too far up its own butt in that way only 70’s auteur films can seem to be. So many people bemoan the rise of the Spielberg/Lucas regime and the way it actually made movies for people to enjoy and it drives me crazy. Especially when I see something like this, made by one of the filmmakers they love, (or at least did until he made Heaven’s Gate and brought the whole thing crashing down.) It’s like a tone poem masquerading as a crime film. That’s not to say there aren’t some genuinely enjoyable moments. Clint’s introduction as a phony priest whose country church gets shot up is one of the best examples. But I found them to be too few and far between. I hate that this makes me sound like one of those people who complain about a movie being boring because there isn’t an explosion every five minutes, but for a lot of its runtime, it just kinda lies there. I suppose I’m not sorry I watched it, but I’ll probably stick to his westerns for the next few films of his I catch.

Pull your lip over your head and swallow.On the flip side of the 70s-crime-film coin, I also watched The Taking of Pelham One Two Three and loved it. Walter Matthau is good in most anything, of course, and he kills it here as a Transit Authority Cop who manages to be super competent in dealing with a group of criminals who hold a subway car of passengers for ransom, while still being very fallible and human. His humor holds a great deal of the film together, while the smart script and a fantastic performance from Robert Shaw (Cap’n Quint himself) take care of the rest. The way the audience is kept guessing along with Matthau’s character is a good deal of the fun, so it would be a sin to ruin more of the plot. However, before I move on, I will say that the score for the film also deserves to be singled out. You’ll have the theme stuck in your head for the rest of the day thanks to its mix of a little bit of funk and a whole lot of bravado. Just thinking about the movie now has it rolling through my mind again.

Open 'til MidnightFinally, I have gotten a lot of guff for having not seen Empire Records before. Having finally watched it***, I can say that I understand why so many people of my generation (and the subsequent one) attached themselves to it in such a dramatic way. It’s a perfect 90s fantasy; the loose confederation of kids and 20-somethings who seemingly have little in common by suburban white people standards, working in the kind of store that could only exist in the movies, where you can steal a whole day’s take from the register and not get fired. As a person who has worked in both a corporate record store in the late-90s (Hastings, RIP) and an indie store in the 00s, I can say there’s just enough of a ring of truth to the now endangered music-store culture being simulated that it’s understandable how people who have been in that environment will latch onto it. Sort of like I’ve known from fellow people who have worked in chain restaurants and their protectiveness of the Ryan Reynolds vehicle Waiting.

My feelings on the movie? It’s good, not great. The performances are better than the movie itself in many instances. If I’d seen it at the appropriate age, I’d probably have had even more of a thing for Liv Tyler than I did after seeing That Thing You Do. It’s actually fun seeing a handful of actors who went on to bigger things, though it’s super weird to see Renee Zellweger in anything pre-surgery. As an attempted artist, it’s hilarious watching the guy who’s already selling his pieces without any problem worrying about art school. As Mystery Science Theater 3000 put it once, “These are the kind of problems you WANT to have.” I sort of wish I’d seen it back in what the nostalgic call “The Day,” as I would almost assuredly appreciate it more. But I will still probably revisit it in the future now that I’ve broken the seal.

That’s all for now, but I’m sure I’ll be writing more as I head further down the rabbit hole. I’ve got a big stack left over from the Shout and Twilight Time sales (as well as a few items from the Arrow sale on Barnes and Noble) to get to. Let us know what you think of the titles discussed below in the comments section or on Facebook, won’t you?

*The worst of example of which, the scene where they made Bond “Japanese,” does at least have its existence justified with a brilliant parody scene found in Team America: World Police.

** Thankfully, one of the exceptions, Stevie Wonder’s Superstition, was readded to The Thing’s soundtrack after years of being replaced on home video formats.

***Thank you for the DVD, Sarah!

Aisle of the Damned- 12/23/15: Nazi Rick Astley (“Goddamn it.”)

Space Dandy. He's a Dandy Guy. In Space.

Bryan and Kent both love Star Wars. They also both love Star Wars: The Force Awakens. But such is the power of the force, that their disagreement over it’s light and dark sides brings all sorts of Sturm und Drang. They are more in agreement over the greatness of Creed and the okayness of Spectre. Plus, The Night Before and The Final Girls! All this and less in this episode of Aisle of the Damned. (Spoilers for Spectre around 19:00 or so, Creed around 37:00 and for Star Wars around 57:00.)

Music
The Aquabats- Stuck in a Movie
Nerf Herder- I’m the Droid You’re Looking For

Kent’s Movie Diary: Dante’s Inferno

FIST: THE MOTION PICTURE8/31/13- So turns out Ip Man is a pretty great chop socky flick. I should have known since it has Donnie Yen (aka Iron Monkey), but I hadn’t really paid attention to it before. It languished on my Netflix queue for a while. (“It’s in my Netflix queue,” is the new way of saying, “I’m never going to get to it, but I want you to leave me alone about it.”) After a coworker recommended it to me, it pushed me to finally give it a go and after the streaming finally stopped sucking and the picture got halfway decent, I enjoyed it a lot. Sammo Hung’s fight choreography is superb with the misses and the defense being as exciting as the punches and kicks that land in the fights. The story is that of one of Bruce Lee’s masters whose city in China was occupied by the Japanese army in World War II. They took his home (he was reasonably wealthy) and, after shoveling coal for a while, he ends up in some fights arranged by the Japanese to test their soldiers and beat up on some of the home team. The general that is in charge of them looks strangely Caucasian to me, but that could just be my ignorance. His gun-happy toadie, meanwhile, skews so far to the other side that he looks like he stepped out of Bugs Bunny Nips the Nips. (You can find it on youtube. There’s no way in hell you’re going to get an official release from Warner Bros.) I have seen historical martial arts epics before, but setting one during dubya dubya two is a new one for me and it made for a nice change. It sucked me in pretty well and I definitely recommend it.

Sequel: The Movie9/2/13- I’ve spoken on the podcast about my love of Joe Dante’s Gremlins 2 before and how it’s an insane parody of the first film that really deserves to be seen by more people. It does finally seem to slowly be getting the reputation it deserves as it has found champions in the online critic community. I got to see it on the big screen for the first time when the Drafthouse put on a near-midnight showing of it on 35mm on Saturday night. It took a while for them to get the focus right and they had it incorrectly framed (there were visual gags being cut off the sides that I remembered from the blu ray) but it’s so great seeing it on the big screen. As much as I love a lot of his work, this one might be my favorite film of Dante’s and the big gags play better big, as obvious as that would seem. Sure it’s goof for the entirety of its length, but around the hour mark it completely goes off the rails and rids itself of any pretense of not being an complete cartoon. Of course, I mean that in a good way. It’s a shame his Termite Terrace film about the animation department at Warner Bros. in the 30s and 40s never got off the ground because the dubya-bee wanted to focus completely on Space Jam. I’ll never understand how Warner Bros. is so completely weird about exploiting its catalog in multiple directions at once. Their movie department is notorious for pushing around their TV/animation divisions when it comes to their superheroes. Which is the reason you never got a good shot of the Superman suit in Smallville despite having to wait 10 years. And why Bruce Wayne never appeared on that show. And the reason the Joker and every other “Batman” villain disappeared from Justice League for the end of its run. And on and on. Do they really believe having two wildly different projects featuring a brand so all encompassing as the Looney Tunes would have caused confusion? I mean, cheezus, The Japanese will put out three versions of the same property at the same time if they think it will work and it doesn’t hurt anything. I guess they just trust the public to be smart enough to get it.

The Ramones: The Motion PictureSpeaking of Dante, I threw in the Shout! Factory blu ray of Rock N’ Roll High School from their Corman collection. Allan Arkush is the director, but Dante also stepped in to do some of it and his fingerprints are all over it. And given it’s a z-budget picture from the most notoriously cheap production house in Hollywood history (until Asylum came along to make the easily duped consumer suffer with direct-to-video titles like Transmorphers), it looks pretty good. Sure it’s not perfect. There’s some issues with a little dirt and scratches. And since I’ve been spoiled by blu being, up to this point, a cinephile format that typically seems to really pay attention to technical aspects I’ve gotten to be a completely anal purist about things like OAR which should be 1.85 for RNRHS but instead is presented in “full frame” for widescreen TVs, AKA 1.78, but complaining about that probably makes me seem slightly insane. Which I am. But let’s move on. The great thing about Rock N’ Roll High School is that it does to teen movies what The Ramones did to pop rock. For all the talk about being the founders of punk, what The Ramones really did was completely reject all the overblown aesthetics of 70s arena rock which had turned it into pretentious nonsense. They stripped it down and went back to the roots of 50s and early 60s rock and roll. They then played it louder and faster and made it funny, self-deprecating and a bit anarchic. Rock N’ Roll High School takes the skeletal remains of the ultra-popular, mass-produced teen films of the same era about kids rebelling against authority and generally just wanting to be kids without being hassled and turned it punk: louder, faster and funnier. Sure PJ Soles’ Riff Randell (“Rock and roller!”) isn’t the typical punk according to the people that deride the character (one of my official movie crushes) and the movie in general as being too old-fashioned. Part of that is because they’ve been conditioned by mass culture to think anyone who likes punk music has to fall completely into an empty cliche of leather, piercings and poorly-thought out political beliefs that somehow think socialist-style collectivism is part of an anarchist worldview. Ironic, no? Meanwhile, I love punk music and I’m as far away from that as most people could be. But people have always defined niches by the boxes they’re put into by mass media that are usually only one-dimensional sketches. Abbey on NCIS remains just about the only goth character on TV that actually seems halfway like the perky, humor-loving goths I knew in college that met for pizza every week. Riff, despite not being punk enough for some, manages to get the whole school dancing to The Ramones’ Sheena is a Punk Rocker, takes a chainsaw to her permanent record, wears whatever the hell she feels like, gets her stuffy music teacher into The Ramones by getting him to go to a concert and… oh yeah, BLOWS UP HER SCHOOL. All of which strikes me as more punk than shaving your hair into a mohawk and quoting the Dead Kennedys.

Underwater Bond: The Movie9/3/13- One of the many film series I’m making my way through is the Bond franchise. At least the early Connery/Lazenby era before Roger Moore completely ruined them. Basically I’m going through the excellent MGM remasters one at a time catching the ones I’ve missed. And for the most part they do look pretty amazing. I still will put Goldfinger against just about any other film in my collection. The latest one I watched was Thunderball. I’ll admit, part of the reason I’ve missed this one so far is because of its reputation for being a step backwards towards the gadget-obsessive franchise it became. Turns out that’s true. It’s also overly long. But I found it to be much better than I’d been led to believe, though now I know where a lot of the direct parody in the first Austin Powers is from. Despite the fact that he has a couple of moments at the spa that are kinda rapey (I guess “it was the 60s” is supposed to serve as an excuse) Connery really was the best Bond. And, funnily enough, like Daniel Craig, he’s actually kind of a crappy spy. Everyone knows who he is, which seems pretty counterintuitive. And they both lose way more often than they win. But because the damage is always towards side characters, they manage to get away with it. And boy is there more damage and death and violence from Bond in this one, including stabbing a guy in the eye with a harpoon. How cool is that? But as for the film, I actually thought all the underwater stuff that people gripe about was cool. The effects work was pretty great and that title sequence was fantastic. It’s no wonder everyone chases Maurice Binder, but never manages to top him. The music is pretty darn good. The cinematography is excellent and the franchise made the move to widescreen extremely successfully. The visuals sort of perfectly capture a middle ground, using eye-popping color choices, but not going to far as to make it the kind of bizarre pop-art artificiality that took over. The one big issue with the film that really bothered me is that it seems to be sloppily edited. Sometimes scenes change in such a way that they cut off what the characters are saying and it’s just weird. Up next: You Only Live Twice, which seems to really divide people. So bring it on.

 

Kent’s Damned Movie Reviews: Skyfall

Skyfall is in some ways a better version of The Dark Knight Rises (itself a fine enough film.) Both are about an inescapable pop culture figure going through a kind of death and resurrection as the films (if not themselves as characters) ask if they are still relevant not just to the fictional universes that they occupy, but to the world at large. Both involve an almost cathartic destruction of the remnants of the most important pieces of their personal histories. Both make huge leaps to bring in classic elements of their mythology in some instances.

In the case of Bond, the reboot of the series seems complete by the end of Skyfall. While it is only moderately connected plot-wise to the previous two films in the Craig cycle (there’s nary of mention of the shadowy Quantum), it has much in common with emotional through lines previously established as Bond brings a character arc full circle. One hopes that he will continue to grow and change as the films proceed, rather than have it sink into an episodic mess like the old series. It could easily fall into the trap as many of the classic parts of the mythology are reintroduced to the new generation. Most notable is probably the addition of a new Q, in this case much younger and less world weary than the late Desmond Llewelyn, but equally as fastidious. Judi Dench, the last real link to the old Bond films, returns and with a much larger role than the previous two. Ralph Fiennes joins the cast as the new government oversight figure in charge of MI6 and manages to be as excellent as he always is. Javier Bardeem is arguably given little to work with as the main villain of the piece (his backstory is practically a passing moment of wispy exposition) but he manages to put enough character spin in his delivery to establish himself as not just a classic villain in the series, but as the kind of crazed rogue that occupies the same weird-space as Jaws or Blofeld. A far cry from the more toned-down baddies from Casino Royale and Quantum of Solace (which were actually kind of appreciated in a way.)

In a lot of ways, this film feels like it’s trying to be all things to all Bonds. As it is being released on the 50th anniversary of Dr. No, it works in a lot of references, both literal and tonal, to the previous eras of the series. The villain feels like an old school villain. The character arc feels naturally evolved from the Fleming novels, with a shadow boiling under the surface (a far cry from the suave agent usually presented.) And, as with Bond pantheon at large, the weakest spot in the movie is a Roger Moore-ish set piece involving kimodo dragons with a cheesy line to wrap it up. But the callbacks hit much more than they miss and to ruin many of them would be to ruin the fun for the enthusiast. That it succeeds in managing to mash up so many years and interpretations is nearly a miracle unto itself.

Actually, one could make the case that as the third film since the reset button was pushed, there are a lot of parallels one could make between it and the third Connery film, Goldfinger. Goldfinger was the film where everything about what a Bond film would mean for the rest of the Connery years began to fall into place (though I would argue it was never surpassed.) Where Skyfall leaves us with the feeling it is setting up the new continuity in a similar way; that this will be the new norm and with its success, the rest will follow its example.

Skyfall is the best Daniel Craig Bond film. It is not a stretch to say that Skyfall is definitely the best Bond since Goldeneye. It may even be the best Bond has been since the sixties.

(Four out of five stars)