Slow West

Movies to See Right Now

by
Blythe Danner in I'LL SEE YOU IN MY DREAMS
Blythe Danner in I’LL SEE YOU IN MY DREAMS

The two exceptionally good films in theaters are:

Far from the Madding Crowd, is a satisfying choice for those looking for a bodice ripper. If you’re looking for a scare, try the inventive and non-gory horror gem It Follows. Don’t bother with Slow West, a failed Western that never gets into rhythm.

I really enjoyed the Argentine comedy The Film Critic, which is now available for streaming from Amazon Instant Video, iTunes, Vudu, YouTube and Google Play.

I really enjoyed the dark comedy Gemma Bovery, in which Fabrice Luchini – a treasure of comic cinema – sees a famous novel being acted out in real lie and jumps right in himself.

My Stream of the Week is the So Bad It’s Funny An American Hippie in Israel, available streaming from Amazon and Xbox Video.

Don’t forget that Turner Classic Movies is filling each Friday in June and July with film noir in its Summer of Darkness series, hosted by Film Noir Foundation president Eddie Muller – the Czar of Noir. The series schedule includes several favorites of my Overlooked Noir.

Turner Classic Movies is playing the unforgettable The Man Who Would Be King (1975) on June 6. Sean Connery and Michael Caine star as two vagabond British soldiers adventuring in colonial India when one of them is mistaken for a god by the indigenous people. They play the misunderstanding into a kingdom – until hubris, greed and lust causes them to reach a little too high. It’s a great story, well told by director John Huston. Connery and Caine are wonderful.

On June 9, TCM is playing some of the greats of early 1970s American cinema: Annie Hall, Shaft, Dog Day Afternoon and Mean Streets. Put on your flairs and tune in.

Michael Caine and Sean Connery in THE MAN WHO WOULD BE KING
Michael Caine and Sean Connery in THE MAN WHO WOULD BE KING

Movies to See Right Now

by
Sam Elliiott and Blythe Danner in I'LL SEE YOU IN MY DREAMS
Sam Elliiott and Blythe Danner in I’LL SEE YOU IN MY DREAMS

The two exceptionally good films in theaters are:

Far from the Madding Crowd, is a satisfying choice for those looking for a bodice ripper. If you’re looking for a scare, try the inventive and non-gory horror gem It Follows. Don’t bother with Slow West, a failed Western that never gets into rhythm.

I really enjoyed the Argentine comedy The Film Critic, which is now available for streaming from Amazon Instant Video, iTunes, Vudu, YouTube and Google Play.

My DVD/Stream of the Week is the the Civil Rights docudrama Selma – an incredibly stirring movie with one significant historical flaw.  Selma is available on DVD from Netflix and Redbox; you can stream it from Amazon, iTunes, Vudu, YouTube, Google Play, Xbox Video and Flixster.

On June 2, Turner Classic Movies airs Key Largo (1948), one of the classic film noirs and still satisfying to this day. Both trapped in a claustrophobic Florida island resort by a hurricane, Humphrey Bogart has to face down sadistic mobster Edward G. Robinson. 23-year-old Lauren Bacall was at her most appealing. Claire Trevor’s heartbreaking performance as a gangster’s moll aging out of her looks is one of her best.

TCM brings another noir on June 3 – The Killers (1946). Burt Lancaster stars in a story adapted (and greatly expanded) from the Hemingway short story. It’s only the only the third leading role for the 24-year-old Ava Gardner. Wonderfully deep noir cast: Edmond O’Brien, Charles McGraw, Albert Dekker, Sam Levene, Jeff Corey, William Conrad. Selected by the Library of Congress for preservation in the United States National Film Registry.

Finally, on June 5, TCM is showing the superb proto-noir M (1931), Peter Lorre stars as a serial killer who preys on children. It’s a masterpiece by master director Fritz Lang (Metropolis), who later fled the Nazis to Hollywood and made several fine film noirs in the 50s. Lorre is compelling as a man plagued with a twisted compulsion. There’s no explicit violence, but you’ve never seen a more chilling solitary balloon. The city’s criminal underclass races with the police to hunt down the monster. The climax is a most unusual courtroom scene. If you’re going to see one pre-war European film – see this one.

Peter Lorre in M
Peter Lorre in M

Movies to See Right Now

by
Domhnall Gleeson in EX MACHINA
Domhnall Gleeson in EX MACHINA

The one MUST SEE in theaters is the intensely thoughtful Ex Machina.  I really like the thoughtful and authentic dramedy I’ll See You in My Dreams, and it opens more widely next week.   Far from the Madding Crowd, is a satisfying choice for those looking for a bodice ripper.  If you’re looking for a scare, try the inventive and non-gory horror gem It Follows.  Don’t bother with Slow West, a failed Western that never gets into rhythm.

My DVD/Stream of the Week is the role of character actor Richard Jenkins’ career – The Visitor. It’s available on DVD from Netflix and streaming from Amazon Instant Video, iTunes, Vudu, YouTube, Google Play ad Xbox Video.

Turner Classic Movies always programs a war movie marathon on Memorial Day weekend. I recommend two of the very best Korean War movies – both airing on May 24:

The Steel Helmet (1951) is a gritty classic by the great writer-director Sam Fuller, a WWII combat vet who brooked no sentimentality about war. Gene Evans, a favorite of the two Sams (Fuller and Peckinpah), is especially good as the sergeant. American war movies of the period tended toward to idealize the war effort, but Fuller relished making war movies with no “recruitment flavor”. Although the Korean War had only been going on for a few months when Fuller wrote the screenplay, he was able to capture the feelings of futility that later pervaded American attitudes about the Korean War.

Men in War (1957): An infantry lieutenant (Robert Ryan) must lead his platoon out of a desperate situation and encounters a cynical and insubordinate sergeant (Aldo Ray) loyally driving a jeep with his PTSD-addled colonel (Robert Keith). In conflict with each other, they must navigate through enemy units to safety. Director Anthony Mann is known for exploring the psychology of edgy characters, and that’s the case with Men in War.

Gene Evans in The Steel Helmet

SLOW WEST: a Western that never gets into the rhythm

by
SLOW WEST
SLOW WEST

Slow West, which I saw at Cinequest, opens theatrically tomorrow. I suggest that you skip it.

I love Westerns, but Slow West just didn’t work for me. It’s a film of some ambition, and it won an award at Sundance, but the movie kept sliding in and out of self-consciousness, and I could never settle in to the story.

Kodi Smitt-McGee plays a sixteen-year-old Scot completely unsuited for survival in the Old West. Nonetheless, he is devoted to a young woman and he launches a determined quest to track her down. He soon picks up a veteran Westerner (Michael Fassbender) who can guide and guard him. The two, of course, have a series of adventures along the way.

There’s some appealingly dark and droll humor in Slow West (quite a few good laughs, actually). The problem is that Slow West can’t figure out whether it should have the tone of a straight Western (Unforgiven, The Homesman) or wink at the audience (Little Big Man). Accordingly, some of the period details are so wrong that they distracted me from the story. For example, in an otherwise very funny scene with arrows and a clothesline, the Indians look like tiny, skinny Asians. Smitt-McGee employs a Scots accent in every fifth line. And Fassbender sounds like he just stepped out of a time machine from 2015.

Slow West was filmed in New Zealand, so there are grand vistas that kind of look like the American West, but then kinda don’t. This DID work for me, because it contributed an almost subconscious edge to heighten some scenes.

Bottom line: Slow West is a mess.

Movies to See Right Now

by
Dana Andrews and Joan Fontaine in BEYOND A REASONABLE DOUBT
Dana Andrews and Joan Fontaine in BEYOND A REASONABLE DOUBT

Far from the Madding Crowd, which opens today, is satisfying choice for those looking for a bodice ripper. I haven’t yet seen the sci-fi Ex Machina, which has been engendering almost universal praise.  If you’re looking for a scare, try the inventive and non-gory horror gem It Follows.

I’m at the San Francisco International Film Festival, where I’ve written about four films so far (scroll down).  Two are among the year’s best films: the wonderfully weepy and funny coming of age film, Me and Earl and the Dying Girl, and the uncomfortable documentary on living with past genocide in the absence of truth and reconciliation, The Look of Silence.

Documentarian Alex Gibney now has TWO excellent films playing on HBO:

  • Going Clear: The Prison of Belief, a devastating expose of Scientology is playing on HBO; and
  • Sinatra: All or Nothing at All, an especially well-researched and revelatory biopic of Frank Sinatra.

Don’t bother with Clouds of Sils Maria – it’s a muddled mess. Insurgent, from the Divergent franchise is what it is – young adult sci-fi with some cool f/x. The romance 5 to 7 did NOT work for me, but I know smart women who enjoyed it. The biting Hollywood satire of Maps to the Stars wasn’t worth the disturbing story of a cursed family. I also didn’t like the Western Slow West, now out on video.

My DVD/Stream of the Week is the funny and sentimental Canadian dramedy Cloudburst, available on DVD from Netflix and streaming from Netflix, Amazon Instant Video , iTunes, Vudu and Xbox Video.

On May 4, Turner Classic Movies is playing two marvelous, gritty classics from 1958.

    • I Want to Live! features Susan Hayward’s Oscar-winning performance as a good hearted but very unlucky floozy; it has both a great jazz soundtrack and a dramatic walk to The Chair.
    • Beyond a Reasonable Doubt is another film noir from the great Fritz Lang: seeking to discredit capital punishment, a reporter (Dana Andrews) gets himself charged with and CONVICTED of a murder – but then the evidence of his innocence suddenly disappears! Crackerjack (and deeply noir) surprise ending.

Movies to See Right Now

by
Gene Hackman in the 1975 NIGHT MOVES
Gene Hackman in the 1975 NIGHT MOVES

I’m at the San Francisco International Film Festival, and I haven’t caught up with the promising sci-fi Ex Machina or the rock doc Lambert & Stamp. Here are the movies that I know are good:

In theaters, I liked Ethan Hawke’s gentle documentary Seymour: An Introduction. If you’re looking for a scare, try the inventive and non-gory horror gem It Follows.

Documentarian Alex Gibney has TWO excellent films playing now on HBO:

  • Going Clear: The Prison of Belief, a devastating expose of Scientology is playing on HBO; and
  • Sinatra: All or Nothing at All, an especially well-researched and revelatory biopic of Frank Sinatra.

Don’t bother with Clouds of Sils Maria – it’s a muddled mess.  Insurgent, from the Divergent franchise is what it is – young adult sci-fi with some cool f/x. The romance 5 to 7 did NOT work for me, but I know smart women who enjoyed it.  The biting Hollywood satire of Maps to the Stars wasn’t worth the disturbing story of a cursed family. I also didn’t like the Western Slow West, now out on video.

My DVD/Stream of the Week is the drama Wild, with its wonderful performances by Reese Witherspoon and Laura Dern. It’s available on DVD from Netflix and streaming on Amazon Instant Video, iTunes, Vudu, YouTube, Google Play, Xbox Video and Flixter.

On April 27, Turner Classic Movies is airing the 1975 character-driven neo-noir Night Moves, with Gene Hackman as an LA private eye who follows a trail of evidence to steamy Florida. Hackman shines in the role – the detective is deeply in love with his estranged wife, but unsuited for marriage. Night Moves also features Melanie Griffith’s breakthrough role as the highly sexualized teen daughter in the Florida family; Griffith was eighteen or nineteen when this was filmed, and had already been living with Don Johnson for three years.

And TCM is also showing one of my very favorite films, the Sam Peckinpah 1973 Western Pat Garrett & Billy the Kid (April 30), featuring James Coburn and Kris Kristofferson in the title roles. Peckinpah takes us into a realistically dusty world of 1880s New Mexico and makes the story operatic in its sweep. Pat Garrett is a revisionist Western, with Billy representing the have-nots and his old pal Garrett hiring out to do the bidding of the capitalist one-percenters. It’s a near-great movie; if the unfortunate “Paco” story line were excised, it would rank among the greatest three or four Westerns of all time. (Another minor flaw: Richard Jaeckel has to wear a Paul Revere wig. )

Pat Garrett also features the Peckinpah repertory company of Luke Askew, Strother Martin, L.Q. Jones, Gene Evans, Dub Taylor, Emilio Fernandez and, in one his most memorable roles, R.G. Armstrong. The stellar cast also features Harry Dean Stanton, Jason Robards, Elisha Cook Jr., Chill Wills, Richard Jaeckel, Jack Elam, Barry Sullivan, Jack Dodson (Howard Sprague in The Andy Griffin Show), Richard Bright (Al Neri in The Godfather), and Charles Martin Smith (Terry the Toad in American Graffiti).

The sound track is by Bob Dylan, and Dylan has a small acting role, too; this is the origin of Knockin’ on Heaven’s Door, which perfectly underlines a heartbreaking scene with two greats of the Western genre, Slim Pickins and Katy Jurado.

Movies to See Right Now

by
Victor Buono in THE STRANGLER
Victor Buono in THE STRANGLER

This week, most of your movie best bets are on TV and video.

In theaters, I liked Ethan Hawke’s gentle documentary Seymour: An Introduction. If you’re looking for a scare, try the inventive and non-gory horror gem It Follows.

Don’t bother with Clouds of Sils Maria – it’s a muddled mess.

Insurgent, from the Divergent franchise is what it is – young adult sci-fi with some cool f/x. The romance 5 to 7 did NOT work for me, but I know smart women who enjoyed it. I found Kumiko, the Treasure Hunter to be droll but tiresome. The biting Hollywood satire of Maps to the Stars wasn’t worth the disturbing story of a cursed family. I also didn’t like the Western Slow West, now out on video.

Documentarian Alex Gibney has TWO excellent films playing now on HBO:

  • Going Clear: The Prison of Belief, a devastating expose of Scientology is playing on HBO; and
  • Sinatra: All or Nothing at All, an especially well-researched and revelatory biopic of Frank Sinatra.

My DVD/Stream of the Week is the hilarious Living in Oblivion, with Steve Buscemi and Peter Dinklage. It’s available on DVD from Netflix and streaming from Amazon Instant, iTunes, Vudu, YouTube and Xbox Video.

Don’t miss the 1964 serial killer movie The Strangler, playing on Turner Classic Movies on April 19. It’s the masterpiece of director Burt Topper, who specialized in low-budget exploitation movies. First, we see that lonely lab tech Otto Kroll (Victor Buono in an especially brilliant and eccentric performance) is twisted enough to murder random women and return to his lair and fondle his doll collection. Then we learn his motivation – he dutifully visits his hateful mother (Ellen Corby – later to play Grandma Walton) in her nursing room; she heaps abuse on him in every interaction. Pretty soon, even the audience wants to kill Mrs. Kroll, but Otto sneaks around taking out his hatred for his mom by strangling other women. Because Otto is outwardly genial to a fault, it takes a loooong time to fall under the suspicion of the cops. The character of Otto and Buono’s performance elevate The Strangler above its budget and launches it into the top rank of serial killer movies. (THE STRANGLER IS NOT AVAILABLE FOR RENT FROM NETFLIX OR STREAMING SERVICES. You can buy the DVD from Amazon or find a VHS tape on eBay.)

TCM will also show Murder, My Sweet (April 20), the 1944 film in which Dick Powell was able to escape his typecasting as boyish crooner in big musicals and immerse himself in a new career in grimy film noir. Powell proves himself right with the studio bosses, and Murder, My Sweet was just his first success in film noir. Powell, an actor from Hollywood’s Golden Age who would translate very well in today’s cinema, is very watchable as Raymond Chandler’s Philip Marlowe, an LA private dick who is hired by three clients, each seemingly more dangerous than the last. As Marlowe follows the mystery, he is knocked out multiple times, taken hostage, drugged and temporarily blinded. Oh, and Claire Trevor tries to seduce him. Pretty good stuff.

SLOW WEST: a Western that never gets into the rhythm

by
SLOW WEST
SLOW WEST

Slow West, which I saw at Cinequest, is out on VOD today, ahead of a theatrical release in mid-May. I suggest that you skip it.

I love Westerns, but Slow West just didn’t work for me. It’s a film of some ambition, and it won an award at Sundance, but the movie kept sliding in and out of self-consciousness, and I could never settle in to the story.

Kodi Smitt-McGee plays a sixteen-year-old Scot completely unsuited for survival in the Old West. Nonetheless, he is devoted to a young woman and he launches a determined quest to track her down. He soon picks up a veteran Westerner (Michael Fassbender) who can guide and guard him. The two, of course, have a series of adventures along the way.

There’s some appealingly dark and droll humor in Slow West (quite a few good laughs, actually). The problem is that Slow West can’t figure out whether it should have the tone of a straight Western (Unforgiven, The Homesman) or wink at the audience (Little Big Man). Accordingly, some of the period details are so wrong that they distracted me from the story. For example, in an otherwise very funny scene with arrows and a clothesline, the Indians look like tiny, skinny Asians. Smitt-McGee employs a Scots accent in every fifth line. And Fassbender sounds like he just stepped out of a time machine from 2015.

Slow West was filmed in New Zealand, so there are grand vistas that kind of look like the American West, but then kinda don’t. This DID work for me, because it contributed an almost subconscious edge to heighten some scenes.

Bottom line: Slow West is a mess.

Cinequest 2015: festival recap

by
THE CENTER
THE CENTER

A pronounced overall success, Cinequest 2015 delivered hearty audience-pleasers from a varied and satisfying menu that featured some real gems from the indie, documentary and world cinema categories.

The fest kicked off with two huge popular successes: the feel-good BATKID BEGINS and the hilariously dark WILD TALES, and kept up the pace throughout the first weekend with an assortment of successful premieres.

Cinequest’s Director of Programming Mike Rabehl presented a fest especially rich in first features, including:

  • THE CENTER: An absorbing and topical American indie drama about the seductiveness of a cult; and especially promising debut from filmmaker Charlie Griak.
  • ANTOINE ET MARIE: A brilliantly constructed French-Canadian drama with two unforgettable characters (actually a second feature).
  • IN THE COMPANY OF WOMEN: Unexpectedly sweet, this starts out with a Boys Behaving Badly set-up and then morphs into a tribute to enduring love.  A festival surprise hit.
  • FOR SOME INEXPLICABLE REASON: A good-natured Belgian comedy containing some very innovative nuggets.

 

CORN ISLAND
CORN ISLAND

Cinequest’s international film scout Charlie Cockey came through once again with the fest’s best film, the transcendent Georgian drama CORN ISLAND, which won the Jury Award for Best Narrative Drama.

 

ASPIE SEEKS LOVE
ASPIE SEEKS LOVE

This 2015 fest was the strongest recent Cinequest for documentaries. The well-deserved Jury Award for best Documentary went to ASPIE SEEKS LOVE, the story of a surprisingly sympathetic subject. Other excellent docs included:

 

Not every film was a home run.  Director John Boorman’s personal appearance was a hit, but his QUEEN AND COUNTRY was only moderately entertaining.  And the eagerly awaited  CLOUDS OF SILS MARIA (Cesar-winning Kristen Stewart) and the Sundance award-winning SLOW WEST were clunkers.

Richard von Busack, the highly respected local film critic, picked Tuesday night’s L’ATALANTE:, rarely seen on the big screen. It’s the 1934 masterpiece of French writer-director Jean Vigo, who died at age 29 soon after its completion. A packed house agreed that this was one of Cinequest 2015’s top experiences.

Other highlights included the Belgian romantic dramedy THREE HEARTS, the French comedy GEMMA BOVERY and the exceptionally well-directed Kosovan drama THREE WINDOWS AND A HANGING.

The most underrated movie at Cinequest? Somehow, the biting darkly hilarious Mexican social satire LOS HAMSTERS is flying under the radar. I think this tale of a dysfunctional family is both very smart and very funny.

BARCO Escape showcased developing three-screen technology to envelope the audience in the cinematic experience.  I have reservations about the BARCO experience, but the short film WITHDRAWAL was a definite winner.

Here’s all my Cinequest coverage – with several features and comments on over twenty-five movies – conveniently linked on one page.

WILD TALES
WILD TALES

Cinequest: SLOW WEST

by
SLOW WEST
SLOW WEST

I love Westerns, but Slow West just didn’t work for me. It’s a film of some ambition, and it won an award at Sundance, but the movie kept sliding in and out of self-consciousness, and I could never settle in to the story.

Kodi Smitt-McGee plays a sixteen-year-old Scot completely unsuited for survival in the Old West. Nonetheless, he is devoted to a young woman and he launches a determined quest to track her down. He soon picks up a veteran Westerner (Michael Fassbender) who can guide and guard him. The two, of course, have a series of adventures along the way.

There’s some appealingly dark and droll humor in Slow West (quite a few good laughs, actually). The problem is that Slow West can’t figure out whether it should have the tone of a straight Western (Unforgiven, The Homesman) or wink at the audience (Little Big Man). Accordingly, some of the period details are so wrong that they distracted me from the story.   For example, in an otherwise very funny scene with arrows and a clothesline, the Indians look like tiny, skinny Asians. Smitt-McGee employs a Scots accent in every fifth line.  And Fassbender sounds like he just stepped out of a time machine from 2015.

Slow West was filmed in New Zealand, so there are grand vistas that kind of look like the American West, but then kinda don’t. This DID work for me, because it contributed an almost subconscious edge to heighten some scenes.

Bottom line: Slow West is a mess.