Out of Focus

This may not actually require a blog post … but I don’t care. You know how earlier this week I mentioned the Tuesday release of the “Martin Scorsese Collection” of DVDs? Well this may lessen my little bits of indie cred, but I love Amazon.com. I didn’t get around to actually ordering the thing until Tuesday; they had the lowest price, especially when you figure in their free shipping. They were even less expensive than both Best Buy and my usual DVD purchase point, Deep Discount DVD. The free shipping sometimes can take a while, and I wasn’t guaranteed to receive the shipment any earlier than next Thursday.

Guess what just arrived! I am so psyched. I wish I had the time to simply sit home all weekend and watch every disc start-to-finish, including all the extras. I haven’t seen Who’s That Knocking at My Door or Alice Doesn’t Live Here Anymore in years — probably not since I was a Blockbuster Video employee (yes, my background includes a cliche!) in 1989, jsut starting my cinematic self-education and would go on director binges, taking home everything. Mean Streets and GoodFellas I’ve watched more recently, but I’m probably most looking forward to watching After Hours, listening to that commentary (featuring not just Scorsese but also Griffin Dunne, Producer Amy Robinson, the brilliant DP Michael Ballhaus and the queen of all editors Thelma Schoonmaker) and watching the deleted scenes. I’ll say it again, if you’ve never seen After Hours, rent it this weekend, especially if you’re a New Yorker. Yeah, it depicts New York at a different time (the mid-80s), but sometimes it’s interesting to see the things that have changed as well as those that haven’t. It’s a phenomenally funny movie which definitely doesn’t get the respect or notoriety it deserves as part of Scorsese’s oeuvre.

Personally, I’m thankful to After Hours for another reason as well. If it weren’t for this film, Rosanna Arquette may not have been a presenter at the American Cinematheque’s Moving Pictures Ball honoring Scorsese back in 1991. Yours truly was such a Scorsese fanatic by that point that I managed to weasel my way into attending as a writer for the UCLA Daily Bruin. When Arquette tripped onto the stage relatively early in the proceedings to announce the winner of the evening’s raffle, it didn’t take long to see that she had been drinking just a wee little bit — if a wee little bit means like the brown bear with an affinity for Rainier Beer. She stumbled, slurred, laughed, almost fell down a few times, and was actually the unintentional comedic highlight of the entire evening. In fact, other than the certainty that I was there, I don’t really remember much else that happened that night … except for Arquette’s “performance.” And I know I wasn’t drunk because I was only 20, looked 15, and had a complete inability to convince anyone to serve me. Anyway, you won’t see that evening on any of the DVDs, but her performance as the catalyst to Dunne’s one crazy night in SoHo is spot-on, so instead of hitting the bars and clubs one night, stay in (but go out) with After Hours.

We’re getting to the part of the summer when all the big blockbusters have come (and most have also gone) and the shit Hollywood sends into wide release is … well … shit. This weekend, the entire nation will get a chance to decide which movie is scarier: Exorcist: The Beginning from director John Frankenheimer Paul Schrader Renny Harlin whose work just oozes subtlety, or, um, something; and Without a Paddle from comedy directing genius (or something) Steven Brill, who shares Harlin’s talent for never going over-the-top … or something.

If you’re ever going to choose a week to support independent cinema, this might as well be it. I’m actually looking forward to next week when the long awaited Hero starring Jet Li finally hits theaters in NY and LA. Meanwhile, Garden State (about which I will be posting something soon, I swear) opens a bit wider this weekend, and should absolutely be seen if you haven’t yet. I’ve also heard very good things about Mean Creek from first-time director Jacob Estes starring Rory Culkin in yet another tale about the cruelty of teenagers; and Nicotina, a popular Mexican film starring Diego Luna (Y Tu Mam&#225 Tambi&#233n). Also notable, but in very limited release, is Bright Young Things, an adaptation of Evelyn Waugh’s “Vile Bodies.” Think of it as St. Elmo’s Fire, but in 1930s England and hopefully less cheesy.

And last but not least, it may not make $100 Million like Fahrenheit 9/11, but the same man (Robert Greenwald) who made the documentary Outfoxed: Rupert Murdoch’s War on Journalism about how “fair and balanced” Fox News Channel really isn’t, made an earlier doc called Uncovered: The Whole Truth About the Iraq War which apparently is a further indictment of the Bush administration’s path to war. That film is getting a new release; unfortunately for us New Yorkers, it will play at the single worst theater in town for actually sitting through a move, The Angelika Film Center. And tonight, Greenwald will be speaking after the 7:55 PM screening. Also opening at the Angelika (and that’s it for this week both nationwide and in NYC) is the Ramones documentary, End of the Century. If you go to the web site (or to the distributor’s, Magnolia Pictures), you can see when it might open in a city near you.

Also if you’re in New York, don’t forget that Luchino Visconti’s masterpiece The Leopard has one more week at Film Forum, and two highlights of the Anthony Mann series — the brilliant films noir T-Men and Raw Deal — play the Walter Reade over the weekend.

I have been remiss, and I’m sure you’re all devastated. I swore to keep reminding everyone about TCM’s continued programming for their “Summer Under the Stars” series, and I missed doing so this past week. I blame my trip to San Francisco, and therefore my family. They always get me all mixed up as to my true priorities. In fact, it’s not only TCM I’ve neglected to mention, but the Anthony Mann series at the Walter Reade, about which I previously wrote last month. It’s been going on for over a week, but there’s still a lot of great stuff left, so if you’ve never seen Mann’s films, head up to Lincoln Center to check them out.

But back to TCM: If you’ve been living and dying by my twice-weekly notices, than you’re screwed, because since Doris Day rang in Friday the 13th, TCM has had some of its best days of the month. Humphrey Bogart, Burt Lancaster, Elvis Presley, Elizabeth Taylor, and Edward G. Robinson, all leading up to today’s star, Bette Davis. Yeah, you hate me now, right? Well … you can check-in at their website you know! Sometimes I get busy. Besides, you can still catch Davis in Jezebel and Now, Voyager in primetime tonight at 8 and 10 PM (Eastern), respectively.

Since I didn’t get a chance to repeat it then, I would encourage anyone who enjoys film noir to rent my big pick for what was the Bogart day: Nicolas Ray’s 1950 film In a Lonely Place. It’s a great Bogart performance and a really interesting film.

Anyway, on we go. TCM has a fantastic weekend ahead, starting with 24 hours of Peter Sellers tomorrow (including three Pink Panther movies and the James Bond spoof Casino Royale). Frankly, the weather in New York this weekend (at least through Saturday) is supposed to suck, so if you happen to stay in doors, you could do worse than hang out with Jimmy Stewart. Sunday will feature the fabulous Olivia de Havilland (and therefore, plenty of Errol Flynn as well). And Monday brings the remarkable of Ginger Rogers (and therefore, plenty of Fred Astaire.

My original capsules regarding each star are located after the jump. If you want to revist my entire original post, well … you’re nuts. But you can do it right here.

Continue reading “TCM WATCH: I’M SORRY I FAILED YOU”

I used to do this thing where I would post the three “most important” headlines from the AOL Instant Messenger welcome screen because I couldn’t believe how lame they were, especially considering the important news that was often being neglected. I don’t do it anymore because it got boring; in fact, I’m sure you realized that before I did. However, there is a story this morning that is worth noting:

Bear Passes Out After Only 36 Beers

SEATTLE (Reuters) – A black bear was found passed out at a campground in Washington state recently after guzzling down three dozen cans of a local beer, a campground worker said on Wednesday.

The really cool part of the story comes later: it seems that the bear has a preference for local microbrew rather than the mass market swill from some random corporation based in St. Louis.

No, not Fudd. Film composer Elmer Bernstein, who created a brawny, big-sky theme for The Magnificent Seven, nerve-jangling jazz for The Man With the Golden Arm and heart-rending grace notes for To Kill a Mockingbird, has died.

Simply put, Bernstein was one of the absolute best. With the passing of Jerry Goldsmith within the last month, the movies have lost two of their most prolific composers of the last 50 years. Bernstein’s scores, especially his major ones from the late 50s, are unforgettable. The music in The Man With the Golden Arm is as integral to the story as every line in the script. With his memorable work on different films from various genres like Sweet Smell of Success, The Ten Commandments and The Magnificent Seven, it could be argued that Bernstein’s scores are as, if not more, important to the tone and flow than any other single element of the filmmaking. In the case of The Magnificent Seven, more people probably recognize the movie’s famous theme than actually have ever seen the film itself.

Bernstein received 13 Oscar nominations through his career, but his only win came for the 1967 comedy Thoroughly Modern Millie. His most recent nomination came two years ago for his fantastic score to Todd Haynes’ brilliant Far From Heaven. After more than 50 years and well over 200 credits, Far From Heaven proved that Bernstein’s talents at the end of his career had not diminished whatsoever.

Music and sound are often the most overlooked element of movies, but good sound editing and a great score arguably have more control over an audiences emotions than any single shot or scene. Bernstein contributed to the musical legacy of the movies to a degree matched by few others, and he will be missed.

Spoiler alert: If you’re a fan of The Amazing Race, as anyone with even a passing interest in television should be, and you have not yet seen last night’s episode, don’t read the remainder of this post because I will be mentioning the Philiminated (&#8482 TWoP & Miss Alli). For the rest of you, join me …

Continue reading “REALITY TV SOMETIMES MAKES ME HAPPY: YAY TAR“

D-Nasty often writes wonderfully worded long posts about … well … whatever he wants. Yesterday, however, he wrote a 50-word summary that perfectly encapsulates Vincent Gallo’s latest … well … whatever — The Brown Bunny. In fact, it so completely represents the film, that depending on how you read it, it’s also a great review. BUT — Big spoiler alert: If you actually take the 30 seconds to read his post, it will absolutely give away potentially the only actual interesting element of the story/narrative and the entire “twist” of the film.

Meanwhile, Filmbrain finally saw Gallo’s exercise in self-admiration and posted his thoughts which were basically exactly what I figured they would be; like the Great Grambo, he loved it. Although he does note that the film is neither a “masterpiece, nor is it even a great film,” he seems to believe that it is “easily one of the best films of 2004.” No offense to Filmbrain — I generally value his thoughts and writings — but I think he’s just a member of some cult which has collectively drunk the Kool-Aid, going into a Gallo film with some weird sense of awe for the “artist” that they will defend the choices whether they make sense or not. Filmbrain’s usually well thought-out analysis and arguments are missing from this review, and obviously I disagree with much of what he has to say (and I have expressed such in admittedly overlong detail in his comments). Meanwhile, as the apocalypse film’s release approaches, I still believe I wrote a relatively balanced appraisal of the film, at least coming from someone who does not appreciate neither Gallo’s “talents” nor his penis. I don’t even hate the film; or at least not all of it. And I’m actually itching for someone to give any defense of the movie that goes beyond “it’s art” or the blatant surface meanings of everything in it — “the journey is as important as the destination”: duh! — at least in response to the reading I’ve given it.

Are you ready for the greatest online video game ever? You may have already seen this on Defamer, and I have no idea how long it’s been out there, but Liquid Generations “Mary-Kate Olsen’s Crack-Man” game featuring our very own beloved multi-millionaire anorexic is just about the coolest thing ever. The only thing that would have made it better is if instead of chomping at the lines of coke, maybe they could have attached a straw to her nose and added a sucking sound? And I just want to know … which one of the people (i.e., “Pac-Man” ghosts) chasing her is Peabs?

Oh yeah … all the film geeks today are going to have this story:New Line Cinema “is in negotiations with director-producer Sam Raimi … for a project titled Freddy vs. Jason vs. Ash. In the proposed sequel, Freddy (from the A Nightmare on Elm Street films) and Jason (from the Friday the 13th pics) would go up against Ash, the cynical anti-hero survivor of Raimi’s Evil Dead trilogy, which also includes Army of Darkness.

Let me just say upfront, I am not now, nor have I ever been a huge horror film fan. I don’t roundly dislike them, but I’ve never subscribed to Fangoria or been so excited about the latest appearance of certain slasher villains. With that said, I appreciate the genre and think many of the classic films and characters from the 70s and 80s when the films really started gaining a fanatical following are quite brilliant.

Continue reading “TRAIN WRECK OR REALLY COOL POTENTIAL? YOU BE THE JUDGE”

I’m still out in the Bay Area completing a whirlwind weekend trip filled with family and not much else, so I probably won’t have another chance to post today. Besides, my head is all clogged up trying to determine the exact moment that I stopped idolizing my parents and discovered that they are simply crazy. It definitely was at some point during my 20s, but I wish I could pinpoint it. It would make everything much clearer.

Meanwhile, a couple things I learned yesterday are taking up valuable brain-space as well:

• You know the most interesting thing about the tremendous opening of Alien vs. Predator — movie that wasn’t screened in advance for critics (always a bad sign) and as of this writing has a metacritic score of 26? Not only did it manage to win the box office race with an estimated $38-Million-plus weekend, but it outearned last week’s opening of Collateral — a film which has received overall great reviews and word-of-mouth — by over $14 Million. Collateral had a solid second weekend, dropping only 35%, but it’s going to have a tough time even breaking the $100 Million mark at this rate. Considering Entertainment Weekly’s recent (annoying and often misguided) cover story about the lack of new Hollywood stars of the Julia Roberts or Tom Cruise variety, Tom’s not looking so hot right now. When most major films this summer, good or bad, are opening with over $40 Million, and even AvsP is getting near that mark, Tom’s $24 Million for Collateral isn’t looking too hot. In fact, Julia’s last major release — last year’s Mona Lisa Smiles — only grossed just over $63 Million, so maybe she’s not the instant box office draw anymore EW seems to think she is. Regardless, here’s a (supposedly) terrible movie drawing that huge an opening weekend audience while a (supposedly) very good movie makes less than 2/3 the same amount. And before you say, “Oh, but AvsP had all the sci-fi freaks out in force,” how does that explain the over $23 Million (virtually the same as last week’s Collateral weekend gross of the light yet horribly reviewed The Princess Diaries 2: Royal Engagement? I’m just saying …

• There is a definite must-purchase DVD set being released tomorrow: “The Martin Scorsese Collection” contains five classic Scorsese pictures. Three of the films are appearing on DVD for the first time. All seem to have a bevy of extras including full feature commentaries by Scorsese himself on each film. Each film will be available to buy individually, but there is no reason that if you own any movies, you shouldn’t just buy this whole set.

  What’s included? Start with Scorsese’s first full-length feature, Who’s That Knocking at My Door? — a film which shows all of Scorsese’s neorealist and new wave influences more blatant than most others, but is especially interesting to see now that his filmmaking style and technique has evolved.

  The film which really put Scorsese on the map, however, was his third feature Mean Streets, also included. Mean Streets was also, notably, the first pairing between Scorsese and Robert De Niro, one of the most important and successful actor-director collaborations in film history. Mean Streets is a great movie, but again it’s even more interesting to watch it for the themes that Scorsese would use repeatedly in virtually all his films going forward.

  Also included is Alice Doesn’t Live Here Anymore featuring an Oscar-winning performance by Ellen Burstyn. This movie was a complete about-face from the urban crime-drama Mean Streets, and in it you can see how versatile even the young Scorsese was. And if you’re a child of the 70s like me and you’ve never seen this serious drama about a widowed mother trying to make it as a singer on the road with her young son, you’ll trip when you realize that this film was the inspiration for the “classic” late-70s/early-80s sitcom Alice. That’s right; a Scorsese film was spun-off into a successful sitcom. Now it has been years since I saw the movie, but I’m pretty sure that when Diane Ladd played Flo at Mel’s Diner, she never said “Kiss my grits!”

  Another classic, often overlooked Scorsese film included here is 1985’s After Hours, which should be hailed as one of the all-time great New York movies. If you’ve never seen it, After Hours is the hysterical misadventures of one man’s night lost in the dark streets of SoHo and Tribeca. Like Who’s That Knocking on My Door? and Alice Doesn’t Live Here Anymore, this film is getting its long overdue DVD release for the first time.

  Finally, like the new and improved Mean Streets release, this collection includes a new 2-disc version of one of the director’s all-time best movies, a film which should have won Best Picture and Best Director easily but was criminally robbed of both by an overlong epic made by a guy who has no concept of pacing and editing. Yes, my long preamble does refer to the absolutely brilliant GoodFellas, which along with Taxi Driver and Raging Bull is obviously one of his signature, and best, movies.

  I’m hoping this is just the first “Martin Scorsese Collection.” I’d watch/listen to Scorsese commentary on just about any movie, especially his own. If I had my druthers, the next set would include the bizarre and uneven but fascinating Boxcar Bertha, a film he made for low-budget producer Roger Corman starring a young Barbara Hershey and featuring some very interesting religious imagery, which ultimately would be a trademark of most of his films. It would also include a remastered with new commentary edition of my personal favorite Scorsese film, Taxi Driver, and another one of his underrated often-forgotten gems, The King of Comedy, which is out on DVD but without many bells and whistles.

  Suffice to say, Amazon already has my pre-order.