Henri-Georges Clouzot directs Louis Jouvet, Bernard Blier and Suzy Delair in this crime farce where a music hall couple and their neighbour all become implicated in the murder of a rich lech.
Hardboiled but with unnecessary lurches into light comedy. At its best (the long sequence when the sad sack husband orchestrates a detailed alibi on his way to commit his crime) it matches Hitchcock. With a sympathetic lesbian support character and general bawdiness this works fine when it is being frank and adult. The sillier moments hold it back.
Sam Raimi directs James Franco, Michelle Williams and Rachel Weisz in this fantasy adventure prequel following the “wizard”’s crash-landing in Oz and the fallout from his arrival.
I’m always surprised when I read this has a bad reputation. I remember really enjoying it on opening weekend and haven’t changed my opinion seven years later on revisit. It certainly is the best of the CGI vista environment, 3D cash-in films that followed in Avatar’s wake. Better than even Avatar. Unashamed digital is not my preference for fantasia generating yet still this Oz looks stunning. Like a shimmering pearl or crayon box come to life… the actors never seem to float a click out from the green screen, the pitfall of this style of filmmaking. Except when they are actual floating through the animated flora, fauna and yellow brick masonry. O.K…. Franco is a little smug (he’s a schmuck and so is the hero as written) but the three female leads more than make up for him. These are three of the most talented and attractive actresses working in modern Hollywood. It is never going to be boring watching them vamp and camp it up as witches in waiting. Zach Braff’s wisecracking monkey sidekick garners plenty of laughs. For the first half he threatens to Robin Williams the show and takeover the production like the genie does in Aladdin. Once the action begins, he fades into the background a little too much. If you approach this as Raimi’s take on a fairytale then he delivers it with the same verve as Army of Darkness or Darkman. The big battle action is a little weak but the slapstick knockabout and character design is perfect in the smaller kinetic moments. Full tilt Looney Toons lunacy. Raimi’s playful honed eye for big screen movement aside this isn’t to my taste when it comes to mega budget cinema, yet I genuinely believe it is as about as good as a 21st Century trip to Oz as you could expect.
Ted Post directs Anjanette Comer, Ruth Roman and Marianna Hill in this exploitation thriller where various women fight over an adult baby man.
Aside from the acting being a little on the thick side, this is a very original and effective creeper. You are never sure where the plot is going even though it fits in all the mandatory glimpses of sex, violence, bondage and crazy partying you’d expect from a mid-70s independent. Ends on a thrilling note, punctuating this lurid little shocker nicely.
Dario Argento directs Karl Malden, James Franciscus and Catherine Spaak in this giallo mystery where a journalist, a blind man and his adopted niece investigate a killer at a genetics company.
More ditzy murder mystery than slasher… this feels subdued and a little less joyful. Certainly it is nowhere near as deranged or colourful as Argento’s crazy best. That doesn’t mean the story telling doesn’t skip along with its own lunatic logic. Why don’t we see the scene where Karl Malden is poisoned? We know he can’t be the killer. Right? Right! Why do they set up his table of blindman crossword letters then never use it as a clue or macguffin later? There are decent set-pieces… a night in the cemetery and a chase on a roof. But there’s also a really miserable moment of nudity followed by an awkward sex scene involving a warm glass of milk. A mixed bag of retro daftness and nastiness.
Richard Benjamin directs Tom Hanks, Shelley Long and Alexander Godunov in this comedy were a struggling couple buy a mansion at a suspiciously low price.
A project worked up to be a Spielberg blockbuster but then cast aside to a lesser director be an Amblin side bet while he made The Color Purple. Early Tom Hanks, peak Shelley Long, Gordon Willis cinematography. A house that self destructs like the world’s most expensive domino rally. We watched this endlessly as kids. Had it taped off of telly on one those Long Play blank cassettes that we had stretched to fit four films on. Four! Imagine it… Fletch, Ferris Bueller, Dragnet and this. Probably even had the ghost of D.A.R.Y.L. or The Naked Gun floating around at the end from a mistimed recording. Or some retro adverts. That’s the only tape you’ll need. Pretty sure we missed the first five minutes of this to fit it on. That didn’t matter (unless you wanted to get the bookending joke?!) What mattered is watching Hank lose it, scramble, howl and deadpan as his investment blows up in his face. Also – Shelley Long is hot in this. I wouldn’t have realised this at Ages 7-13 when I last watched it. But with this and Cheers I reckon I was being programmed. Brainwashed! Plus – the theme song that lays out the plot over shots of New York is a lost banger. The Heart Is So Willing by Stephen Bishop, why you not on ITunes? Lighthearted, silly… but a seminal part of my childhood.
John Waters directs Ricki Lake, Divine and Jerry Stiller in this dance comedy about a “pleasantly plump” 1960s teen who becomes a dancer on The Corny Collins Show.
A blast! Sweet yet edgy. Colourful yet racially aware. Waters tones down his bad taste leanings (only slightly) but retains all the misfit casting, broad energy and loud enthusiasm that makes his back catalogue so rewatchable. Ricki Lake is endearing as Tracy Turnblad, her retro dancing is great.
Robert Altman directs Tim Robbins, Greta Scacchi and Whoopi Goldberg in this dark Hollywood satire where a studio executive seeks out the rejected writer who is sending him poison pen letters.
Let’s just take a second to recognise what an unprecedented run of lead roles Tim Robbins had in the 1990s. I doubt he is anyone’s favourite star but his ability to pick a risky project, well written and with a director firing on all cylinders was uncanny in the last decade of the twentieth century. Forget about Cadillac Man and I.Q. Pretty much everything else is enviably gold standard. A half dozen have stood the test of time as ⭐️⭐️⭐️⭐️⭐️ classics. His gangly frame and baby face often suggest a dopey oversized innocence yet his instinct frequently draws him to dark tales of injustice and men caught in the grind of a system they don’t fully understand.
The Player is a forgotten masterpiece. Ubiquitous in 1992 but I had to order a DVD in from Germany… the only country where the film is officially still in print. Robbins plays Griffin Mill, a loose suit scumbag who can green light pitches. His power is under threat from a new executive coming in. He is receiving postcards with personal threats on them. And when he investigates who is behind the hate campaign, his life becomes hell. It is The Bonfire Of the Vanities or American Psycho where the murderous yuppie has to carry on with his job. And Griffin Mill is a cold fish… more interested in sabotaging his work rival with an iffy big budget project and seducing his victim’s girlfriend even though it acerbates the attention of the police investigating him.
Altman’s comeback, after a decade in the TV movie wilderness, is his finest film. A Hollywood satire gift wrapped with industry lingo, accurate contemporary backroom deals and A-List stars as extras. The Player is teeming with big names… some playing themselves at pool parties, award shows and restaurant tables, others more traditional murder mystery pieces on the Armani clad Cluedo board.
To be thrown into such an arch hyper reality can be overwhelming. To have a Burt Reynolds and Jeff Goldblum as little more than chattering set dressing convinces we are truly adrift in a Hollywood insider’s life. To be constantly reminded of the mechanics of moviemaking and screenwriting and business compromises makes us question the shifts in tone and plot, leaving no moment unpicked for deeper meaning… even when there is little there. It is a complex trick to persuade the audience THIS IS HOLLYWOOD and also deliver a parody skewering very sausage that comes out of this offal factory. Can we trust a film that avoids the clean and patented methods of formula storytelling when it can afford expensive camera movements and multiple location production values? How are we supposed to take the studio mandated happy ending when we have been left adrift in an independent movie’s style of messy overlapping dialogue and unsympathetic, complex characters? Who is your money on… the maverick creative happy to lacerate the system that rejected him (Altman)? Or the system that put up a decent budget to be caricatured by an artist now reduced to making tourist spot street drawings? Will it open? How will it play with the San Diego mall test audience? Really well, it transpired!
The Player works even better as a neo-noir mystery, as it does a Tinseltown roast. The Los Angeles’s location work evokes straight Raymond Chandler as much as Variety, the walls of the studio backlot are littered with forgotten crime B-Movie posters and Fred Ward is the company enforcer obsessed with Welles’ Touch of Evil… especially its much aped opening tracking shot. Forget the sun and mineral water and brick mobile phones… The Player is cracked spine, pulp thriller in its bone marrow. We have an inscrutable ice queen femme fatale (Scacchi – excellent), a playing possum but whip smart investigator (Whoopi Goldberg – career best) and a mystery man following our every move (Lyle Lovett – distinctive looking, bless him).
But what of Griffin Mill. His increasing paranoia. We are made to feel it by Robbin’s gormless intensity. Is his tormentor still alive? Has he killed an innocent man? Is the woman he is sleeping with involved? Or the studio that employs him? Or the mirror image Vice Executive they are courting to replace him with? Why can’t he, an educated and successful man, bullshit the police like a hero would do in the movies? Why do they hound him and laugh in his face when he can normally get people on that pay grade fired with a casual comment? And why can’t he get the exact mineral water he orders when he orders it?
Why should he have to care about the death of writer? Hollywood doesn’t need them. He sees a hundred of them a day and says ‘No’ 12,000 times a year. That’s his job. He is a no man. He has no talent and no skill. And like all yuppies, as a man without value to the world, he finds himself ill equipped to deal with a hostile takeover when he is on the wrong side of the desk, the needy side of an answer. He doesn’t even have the canniness to wear a different suit (or no suit at all, for fucks sake) to a police line-up. Mill’s only power is to approve a narrative and assign a budget to it. He can commit millions to a project with the right ending. But we have been by his side in his darkest moments, and his most useless flailing wretchedness. We know he doesn’t deserve the case dismissed, the promotion, the girl, the kiss and the swell of strings as THE END appears.
We know he really deserves Thomas Newman’s jangling discordant score that stalks him throughout. The soundtrack rattles desperately like a schmuck rattling his car keys at a valet who is ignoring him. The world owes a Griffin Mill nothing. Let him park his own Land Rover and take whatever water he is given.
Scott Spiegel directs Elizabeth Cox, Dan Hicks and Renée Estevez in this low budget supermarket slasher.
Featuring cameos from The Evil Dead gang and made from short ends (unused off cuts of film) in a gone bust supermarket… And that’s about all there really is to mention. A slasher that takes way too long to get going, delivering a cacophony of uninspired deaths and then seems content with the final girl just running up and down the aisles for swathes of the big showdown. Dull and dirty.
Joseph Losey directs Dirk Bogarde, Stanley Baker and Jacqueline Sassard in this drama were a married professor falls for one of his students – the one all his friends seem to be fucking.
More lust and frustration on a lazy, hazy afternoon. More destruction of a white, middle class, middle-aged man. Not Losey’s best but colourful and foreboding in his usual doomed pessimistic way. He definitely influenced Nicolas Roeg. Time and colour are playthings, not to be restricted by straightforward storytelling. Also the ensemble here could easily be the Baxters’ from Don’t Look Now’s rotten neighbours. Plays out like an episode of Inspector Morse following the weeks before the detectives are called in.
Philip Ridley directs Jeremy Cooper, Viggo Mortensen and Lindsay Duncan in this Southern Gothic drama where a young lad’s friends begin to disappear just as he suspects his grieving neighbour of being vampire.
Not the film you were expecting. It is too tart to be the movie anyone might want from all it promises. A queasy mixture of beauty and nasty. Loose, busy with backstory, leaving various characters as dangerous puzzles even at close of play. Hard to make a case that this is entertaining or has anything particularly deep to say but it clearly is a well crafted labour of love. Dick Pope’s cinematography captures the heavenly landscapes and the dusty interiors wonderfully. If you like a David Lynch film or a Andrew Wyeth painting then maybe give it a try.
Bobby Carroll's Movie Diary 