Alfred Sole directs Linda Miller, Mildred Clinton and Paula E. Sheppard in this early slasher where everyone suspects a troubled young girl of being the knife wielding killer stalking a community of freaks.
More like a giallo than a Halloween. This shares Black Christmas’ lax mysterious plotting and a seedier atmosphere. Paula E. Sheppard is particularly good as the baby faced prime suspect. There are surprises and it leaves you feeling disturbed. Which is the ultimate grubby intent. Notes: 1. Brooke Shields big screen debut. 2. No single parent family should have to share a stairwell with Mr Alphonso and his feral housecats.
Quinn Shephard directs Zoey Deutch, Mia Isaac and Dylan O’Brien in this comedy where an influencer exploits a terrorist attack for personal gain.
I like Zooey Deutch. She is a spunky and ambitious screen presence. I get the feeling this vehicle was intended to be her Easy A. But it is just a bit too abrasively satirical and self aware to have fun after a strong set up. Is it terrible that I wanted this stay vapidly easy breezy with a side of dark dipping sauce. PTSD exploration? No! Thank! You!
Vincent Gallo directs himself, Christina Ricci and Ben Gazzara in this indie drama about a recently released convict who kidnaps a young woman and forces her to pose as his girlfriend on returning home.
I rented this from Vogue Video back in the day but I never remember finishing it. It is very mannered. Wannabe Scorsese, beginners Cassavetes, homeopathic Lynch. Awkward unreality mundanity. With cinematic flourishes. Some clunky, some bravura. This is the closest to Bukowski anyone has ever gotten without directly adapting Bukowski. Gallo is an unctuous presence. An emperor’s new clothes talent. Allegedly he was a shit to Ricci making this.
Ridley Scott directs Josh Hartnett, Ewan McGregor and Eric Bana in this modern war movie recreating the siege fought by U.S. soldiers in Mogadishu in October 1993.
For the first ninety minutes this is some of the most intense and relentless filmmaking of its time. Vibes more like a Tony than a Ridley. The final act is very repetitive and fumbles that tension and energy. It is a story where character or context does need to emerge. Instead we get even more faceless hordes overpowering nice clean cut boys. Wearying.
Simon Stone directs Keira Knightley, Guy Pearce and David Ajala in this mystery where a journalist stumbles upon a gruesome secret while traveling aboard a luxury cruise ship.
Wealth porn The Lady Vanishes with no sense of humour and minimal fealty to logic. Forgettable aside from Keira. The sort of movie that isn’t just made for “Second Screen” viewing but really needs for you to be distracted and half invested to work.
Robert Duvall has passed. He was someone I always scored the highest of highly. Boo Radley. Tom Hagen. Boss Spearman. Often cast as the mentor figure in Hollywood fare (even before he hit middle age) he elevated cinema acting . Days Of Thunder is a trashy treat. But Duvall’s seen-it-all-before expert raises it up beyond its craven summer blockbuster instincts. He sometimes represented corrupt corporate America in lauded hits like Network and The Conversation (Hell, even to a large extent in The Godfathers) but more often than not he was the sage who had tried the tough stuff and now proffered a little sweetness… a measured restraint… as the alternative to bullying violence. Not that he couldn’t mix things up. Even in his later years the highlight of his appearances was never the whispering grandstanding or scenery chewing. It was when the devil came back to him. He’d rub his hands with glee and marvel at the chaos of the young bucks. A twinkling “Oh, here we go again.” Sometimes he would join in, earned wisdom be damned. Plus his take on Richard Stark’s Parker in the underrated The Outfit holds its own with Lee Marvin, Mel and The Stath. Check out that and The Paper for underrated deep cuts.
Colors (1988)
Dennis Hopper directs Robert Duvall, Sean Penn and Maria Conchita Alonso in this buddy cop drama where a police veteran and his rookie partner try to navigate Los Angeles gang violence.
We chose this as our In Memoriam evening viewing. It is a quintessential Duvall role. The Merlin / Obi Wan to a reckless thug we are supposed to see as the hero. While Penn’s preening dickhead wobbles between aggression and all out assault, Duvall preaches and exemplifies community spirit. Engagement. Fairness. So obviously, they clash. The film itself was cutting edge in its day but now feels like a camp relic. The Cripps and the Bloods plus the non racist mixed gang are unlikely caricatures… “Homes!” The movie is wildly uneven delivering action, drama, exploitation and even lighthearted comedy in spunky measures. All quite effectively but never gelling. Ice-T raps the theme song, Herbie Hancock delivers a zany jazz score. Closer in intent to The New Centurions than either Boyz N The Hood or Lethal Weapon. The casting and the unpredictable energy filmed out on those streets now keep this one alive past its sell by date.
Now here is a film from my childhood that I definitely saw but I had no nostalgia for. When 10 year old me was first getting obsessive about movies I probably watched it for Danny DeVito, possibly Richard Dreyfuss but most likely just because it was on. Now… well now, I love it. Even more so than Diner!? It is my favourite type of plot. The petty escalating rivalry. Both characters are scumbags who are given complexity and grace notes. Barbara Hershey’s trapped housewife is pinged between the dicks like a pinball. The bantering dialogue is laser accurate, especially in the scam sales sequences. And it seems to be saying something forensic about America, greed and an innocence that never really existed. Can’t wait to rewatch.
Bart Layton directs Chris Hemsworth, Halle Berry and Mark Ruffalo in this heist thriller where a lone high end thief pulls a disrespected cop, an undervalued insurance broker and a psychotic wannabe into his previously ordered world.
Based on a Don Winslow story. They don’t make them like this anymore. Reviews keep comparing this to Heat but really Thief is the Rosetta Stone here. The takes are vibrantly intense yet the half hours in between prove rich with character details and clean visual storytelling. The movie is generous to Berry’s performance. This may very well be the most rounded and perfect role of her entire career. Whenever Barry Keoghan enter the mix the movie shunts away from its neat, cool lines. Again, this is (so far) his best work in a mainstream genre fil-lum, reminding me of Oldman’s chaotic villains of the Nineties. The resolution is a tad fantastical but all in all a movie worth going to see at the multiplex… that may even have that rare compulsive future rewatchability of The Fugitive or Speed. My meaning: whatever point you start watching it you may find it difficult to tag back out. All this and Nick Nolte too! Documentaries or narrative fiction, has Bart Layton ever directed an average, let alone bad, movie?
Julia Jackman directs Maika Monroe, Emma Corrin and Nicholas Galitzine in this fantasy fable about an unsatisfied bride, her storytelling servant and the man who has made a bet with her husband to bed her within 100 nights.
Dreamy visuals, feminist and queer positive messaging plus Maika Monroe is various erotically chaste costumes. Very watchable.
Richard Linklater directs Guillaume Marbeck, Zoey Deutch and Aubry Dullin in this behind the scenes comedy about the making of Breathless.
The casting is spot on, the movie handsome and it clearly is passion project. Yet I’m a Linklater stan who has very little time for Godard. His earliest films are easily his best by country miles. Were they revolutionary? Was he an insufferable prick? This movie accidentally makes the better case for the latter. Confirming my prejudices like a Rorschach test. Hard to care about really once it hits a petulant luvvy rhythm. Inside baseball.
Bobby Carroll's Movie Diary 