July revivals: second half

Mike here with a list of July revivals, second half. First, caught le Doulous. Very good print and sound quality. Good film overall. I will now catch Melville wherever it's convenient. You'll know what's coming ahead, the twists don't seem as fresh to us now. But back then, it must have been something special like now. You may know the path, but when the execution is superior, well that's all you can ask for. Moving on.

You may not believe this, but this is a pruned down list. If I couldn't muster enthusiasm in terms of writing something long, out. If I thought a film was only interesting on a date that was already heavily filled, gone. And if I missed something I really cared about, that's the kind of film that stays. Otherwise, here we go. But first, a reminder of other films from the previous list that I'd like to mention that are playing this weekend:

THE ENTERTAINER- Sat July 14 at 6:30- Walter Reade at Lincoln Center.

THE HOUSE BY THE CEMETERY and/or ICHI THE KILLER and/or WOLF CREEK- Sun July 15 at 2 (House), 4 (Ichi) and 6:30 (Wolf)- AMMI in Astoria- 35th Ave. and 36th St.- Like I said before kinda, I don't have to see all, but I give choices. Note there should be another episode of the original Spider Man animated series on this date at 1 and 3.

LOOK BACK IN ANGER- Sun July 15 at 8 - Walter Reade theater at Lincoln Center- The only update is that the July 15 screening will be introduced by actor Michael Sheen, coming off his performance at Nixon/Frost.

Now for the rest of the list:


PIXOTE- Sat July 14 at 2- MOMA- A brutal, dark film from director Hector Babenco (Kiss of the Spider Woman) back in 1981. Consider this as kind of like Larry Clark's Kids. It depicted a sub-world in Brazil, where abandoned or orphaned poor kids formed their own circles, whether they stayed out of school and went into either prostitution or crime in general. Played in a lot of cases by kids playing a variation of themselves. For them, it seems like there are only two ways out: jail or death. Bleak yet powerful.

Followed by Pixote in Memoriam, a 2005 follow-up of the young actors involved and interviews with Nick Cave, Julian Schnabel, and Spike Lee about the film's influence on them. Not a lot of original actors to interview, based on where they came from. Whole thing wraps up by 6.


MANHATTAN- Sat July 14 and Tues July 17-Thurs July 19 (tentative for Tues on my end.) at 1:30, 5:20, 7:15 and 9:15- Film Forum- If you're looking for something more upbeat, there's everything else on this list. Except for the horror films. Ok, Halloween is cheerier. But anyway, what comes up next on this chronological list, is arguably Woody Allen's best film. He wanted to make a film where he wanted to captured what he thought of as life in Manhattan, late 1970s. Put into the filter of one of his favorite films, Jean Renoir's The Rules of The Game. It may not be a life in New York-1979, but worth catching.

Hell of a cast. Diane Keaton, Micheal Murphy, Meryl Streep and Allen were the better known actors; Mark-Linn Baker, Karen Allen and Six Feet Under's Frances Conroy in smaller roles. 2 Oscar nominations for the Screenplay (written by Allen and Marshall Brickman), and Mariel Hemingway for Supporting Actress. I hope as the relationship between Allen's and Hemingway's characters develops, all cries of "Soon-Yi" are held to a dull roar.

What it wasn't nominated for, which still stuns me, is Gordon Willis's stunning black and white Cinematography. Hard to say who should have been dropped from the category, considering the excellent work done in Apocayplse Now (the winner), All That Jazz, 1941 and The Black Hole. Wait, I know, drop Néstor Almendros for his work in Kramer vs. Kramer. But wait, he worked on Terrence Malick's Days of Heaven. DAMNIT!!! Anyway, a new 35mm scope print to enjoy the look.

In time for the release, there's an interesting article from the Village Voice. Apparently back in the day, it was seriously attacked, and it needed it's defenders. Even if you don't see the film soon, read the article, either on print, or at this link:


http://www.villagevoice.com/film/0728,hoberman,77195,20.html



AMADEUS (The original, not the director's cut. I think.)- followed by post film talk with director Milos Forman, Tom Hulce, Christine Ebersol, and set designer Patrizia Von Brandenstein- for 5 dollars- Monday July 16 at 7- The Academy Theater at Lighthouse International- 111 E. 59th st- A rare screening of the original Amadeus, not the Director's Cut. At least I don't think so; the time length listed on the Oscars.org website is about 22 minutes shorter than the director's cut. And it's certainly not the version that won 8 Oscars, including Best Picture. Was on the original AFI Top 100 list, but has since been dropped from the new recent list. An archival print.

Not historically accurate for the most part, but a history lesson is not the point of this adaptation of Peter Shaffer's play. It's more the opportunity to acknowledge both genius and mediocrity. And that mediocrity is not the most horrible thing in the world, but to envy genius to the point of destroying it and yourself, is. An overall glorious treat: musically, visually and acting-wise. Along with Spinal Tap and A Solider's Story, part of a series of standout films to come out in 1984. It's been years since it's been seen on the big screen.

After the screening, there will be a post film talk with director Milos Forman (maybe he will explain why producer Saul Zantz was correct to have 22 minutes cut out.), actors Tom Hulce (the title role) and Christine Ebersole (on her night off from Grey Gardens) and production designer Patrizia Von Brandenstein (she won the Oscar for Amadeus's Art Direction; she was also nominated for Art Direction for Ragtime and The Untouchables.). I'm sorry to see Cynthia Nixon (who played a 16 year old maid. See her original hair color!!!) isn't available, but do you mean to tell F. Murray Abraham (Oscar winner as Salieri) isn't available?!?!? Really? Really?

Screening starts at 7, doors open at 6:30. General admission seating. Call 1-888-778-7575 to reserve, since it may not be easy to just walk over and reserve.


WALLACE AND GROMIT IN THE CURSE OF THE WERE-RABBIT for free (or with your Queens Library card or your signed application for one, depending where)- Tues July 17 and Wed July 18 at 10AM at Atlas Park Stadium 7 (80-28 Cooper Ave) and Tues July 24 and Wed July 25 at 10AM for free at Kaufman Astoria Stadium 14 (35-30 38th St)- I will keep pushing this animated film, something I thought was a better film in 2005 than Brokeback Mountain, The Constant Gardner, and Crash. When I'm sure enough people I know have seen it, then I will stop. But this isn't conducive to people with jobs, but for the kids in their lives. It's free to all who come supposedly, but at Regal Atlas Park, they're trying to keep people and kids from coming in, unless they show their Queens Public Library card, or if they sign up for one. A noble cause, done in a horrifically stupid manner. Typical of the Atlas mall.

Apparently it's the first film of a double feature in both theaters. At Regal Atlas, it's playing with Happily Never After, while at Kaufman Astoria, it will play with Open Season. Neither film I need to see. If neither week is doable, it will play again in Forest Hills in early Aug with March of the Penguins.


A DELICATE BALANCE- Wed July 18 at 6:30 and Thurs July 19 at 6:20- Walter Reade at Lincoln Center- Part of the Leading the Charge: Woodfall Film Productions and the Revolution in '60s British Cinema retrospective. But also part of a series of films distributed by The American Film Theatre. This group was dedicated to preserving theatre works through screen adaptation, from the early to mid 1970s. A rare period when Hollywood tried to make some form of art and not a money making enterprise. There were some critical successes, and very few that found an audience at the box office. This adaptation of Edward Albee's dark comedy is among the very few to be screened on a semi-regular basis in revival houses.

Directed by Tony Richardson, who also directed the above mentioned The Entertainer and Look Back In Anger. An older WASP married couple whose marriage has chilled to more of a steady chill, lives with two emotionally damaged relatives. All four of them quick with a barb. The "delicate balance" is disrupted when two old friends come over, terrified of "something" at their home. And they won't leave. And did they bring some of it with them . . . Katharine Hepburn and Paul Scofield play the main couple, Lee Remick plays their daughter, and Joseph Cotton plays one of the friends. Should be worth catching.


THE LONELINESS OF THE LONG DISTANCE RUNNER- Thurs July 19 at 4:10 and 9- Walter Reade at Lincoln Center- Part of the Leading the Charge: Woodfall Film Productions and the Revolution in '60s British Cinema retrospective. Yet another film on this list from director Tony Richardson. One of the quintessential Angry Young Man films from Britain. Tom Courtenay plays a rebel youth who, when forced to go to reform school, excels in long distance running. It opens up new possibilities for him, but he will continue to rebel against what he perceives as an unjust system. No matter how it hurts him. Michael Redgrave (Vanessa and Lynn's father) is both sympathetic and off-putting as the governor of the school. But Courtenay, now Sir Tom, became a British leading man for the rest of his life with this performance.


WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN- Thurs July 19 at 7 and 10 for 6.50- Chelsea Clearview Cinemas- Part of a Pedro Almodovar retrospective. I mentioned it before back in December, only this time it's at a more affordable 6.50. Like I wrote back in December, you've probably heard of this, so I'm not going into detail. Just don't feel like it. Next.


METROPOLIS- Fri July 20- Thurs July 26 at - Film Forum- In a world where one group of people are in charge of doing all the "thinking" and another group actually has to do the manual labor, not everyone is happy in this city full of skyscrapers. So let's keep the masses happy through the temptations of a beautiful woman, who's actually a robot. Throw in a young man who's not only in love, but also sees for the first time that not everyone is equal. After decades where this film bounced around, was chopped, and at one point, colorized and had music from Queen and Bonnie Tyler as part of the new soundtrack, a major restoration took place. Not everything could be found, either due to age, no ideas about preserving film history, the flimsiness of the material or the bombings in World War 2. But the original score was found and recorded in stereo. All seven versions were combined and restored, with title cards filling in the story blanks. This 2002 restoration, now returns to Film Forum, and this 2 hour, 19 minute version is as close as we'll probably ever get to definitive.

Fritz Lang was inspired by the Manhattan skyline when he created Metropolis's look. Huge sets that held thousands of extras. Live action and miniatures shot together for the first time. A robot who's initial look influenced C-3PO, and whose existence influenced HAL 9000, the Blade Runner androids and who knows what else. And as influential as the city looks of films like Blade Runner, Brazil, and Dark City have been, they had a source material to work from here. I've caught this before, and may not get to go again this time around. But by all means, go yourselves.


BACK TO THE FUTURE- Fri July 20 and Sat July 21 at Midnight- Landmark Sunshine Cinema- 141-143 Houston St- A midnight screening of the biggest film of 1985. Came out of nowhere to find not only the family audience, but an overall alternative to the other major film from that year, Rambo Part 2.


CARRIE and/or HALLOWEEN with OUTER SPACE- Sat July 21 at 2 (Carrie) and 6:30 (Halloween)- AMMI in Astoria- Continuing their retrospective of horror films, AMMI presents a double feature 2 of the best horror films of late 1970s, and no its not George A Romero's Dawn of the Dead. They only showed the remake. First, Carrie, in an archival 35mm print. The Brian De Palma classic where Sissy Spacek (Oscar nominated) plays the awkward girl goes nuts and wont be laughed at anymore.
With John Travolta, Amy Irving and Nancy Allen when they were all quite young, and Piper Laurie (also Oscar nominated) as the mother of all demented mothers. It's Brian De Palma, so we not talking subtle here. But among is better films.

No interest on my end for Final Destination 3, even if Mary Elizabeth Winstead is in it. So on to Halloween at 6:30. Psycho may have been the first slasher film to hit it big in the U.S., but Halloween is what caused the slasher film to proliferate. Of course they're all carbon copies to this, one of the best horror films ever made. Interesting to look at, tightly edited, but it's director John Carpenter's iconic music that added the final touch. Not a hit in it's first weeks (months?) of release. It basically took word of mouth and a few key critical notices to make this one of the most successful independent films ever made. And as adorable as P.J. Soles is as one of the teenagers, you see a star in the making in Jamie Lee Curtis. Accept no substitutes or sequels or the Rob Zombie remake, go to the original.

Preceded by Outer Space, a 10 minute Austrian short that does something different with Barbara Hershey's scenes in The Entity. Never saw it, but it comes with Halloween.


THE LAST HOUSE ON THE LEFT with post film discussion and THE DESCENT with original British ending- Sun July 22 at 4:30 (House) and 6:30 (Descent)- AMMI in Astoria- The last of AMMI's horror retrospective. It's been showing horror films of this decade and from the 70s, and for horror fans, this double feature is worth noting. First there's Wes Craven's Last House on the Left. Basically a gang rapes 2 teenage girls, who've left the safety of their home environment and are in an area of town they should be in (and with their dress, were they asking for it?). Later, the gang seeks a place to hide in the home of one of the girls' parents. Payback anyone? Basically, a remake of Ingmar Bergman's The Virgin Spring, but with rape, revenge, blood, and dark comedy. BERGMAN REMAKE?!? COMEDY?!?!? Well, from the future director of Scream, is that a surprise? But with all this button pushing, can you imagine the kind of button pushing going on here. Banned several times in Britain, this originally received an X rating here. This is the R rated version, which according to imdb, is only 10 minutes shorter. Some of the stuff that was originally cut out of the X rated version, was put back in by Craven, who got the R rating he was looking for, because a friend of his was on the ratings board!

Followed by a post film discussion from Cornell film professor Amy Villarejo. She'll talk about gender and sexuality issues brought up by both this film and the next one, The Descent.

The 2005 British horror film came out last summer. I'm sorry it didn't find a bigger audience, but if you don't jump more than once, you're not human. A chunck of the story elements will seem familiar, and please forgive some plot holes, but the execution is superior. This screening will have the original British ending, but I'm guessing Lionsgate didn't think U.S. audiences would care for it, so edits were made. So since most of you haven't seen this despite my pushing, so here's your last best chance.


THE STING- at Bryant Park for Free- Mon July 23 at dusk- Maybe a little wordy for a place like Bryant Park, but a fun film nevertheless. Maybe a little light weight for a 7 time Oscar winning Best Picture, but a well constructed caper film. Oh yeah, Redford and Newman with a strong supporting cast. I can understand those who feel Newman slept walked through most of his performance (I disagree), but it's tough against Redford's best leading man performance. His only Oscar nomination as an actor. Helped many people discover Scott Joplin's long forgotten music and bring Ragtime music back into the forefront. Raindate is Tues, July 24.


THE BORDER- Tues July 24 at 6:15 and Thurs July 26 at 3:45- Walter Reade at Lincoln Center- Part of the Leading the Charge: Woodfall Film Productions and the Revolution in '60s British Cinema retrospective. Not a British film, but only part of this retro because it's also directed by Tony Richardson. What this is, is a forgotten 1982 crime drama starring Jack Nicholson. He plays a border guard, desperate for money, and willing to look the other way at the corruption around him. Until the struggles of an illegal mother (the woman from Predator) and her baby awakens his conscience. Harvey Keitel and Warren Oates play his corrupt colleagues. A flop in its day, but the kind of film and role Nicholson would continue to tackle in The Crossing Guard and The Pledge.


ARMY OF SHADOWS- Thurs July 26 at 7:30- MOMA- W. 53rd and 5th- Since there are still a few of you I know who haven't seen Army of Shadows, I will still push this film. The 1969 French war film, that was finally released in this country last April plays yet again, in the very comfortable screening room at MOMA.

I went through it on my Top 10 of 06, but I will add that you should go into this knowing the setup. Director Jean-Pierre Melville shot a war picture through the filter of a film-noir. If you're looking for straight forward reality, you won't get except for 4 aspects. One, the Nazis occupying Paris. Two, how the French lived in general, whether they collaborated, resisted, or didn't have the will or desire to fight. And three, what the Nazis would do to whoever they capture. Never alter these parts, but then add the movie elements, you have one of the best films this country is slowly beginning to hear about. Go. But if the weekend is easier to do than a Thursday night, I have it listed below with something else . . .


ALL ABOUT MY MOTHER- Thurs July 26 at 7 and 10 for 6.50- Chelsea Clearview Cinemas- Another Pedro Almodovar film, at an affordable price. In this case, his most successful in the U.S. that won the Oscar for Best Foreign Film. Still haven't seen it, and wouldn't mind.


SWEET SMELL OF SUCCESS- Fri July 27 at 3:40, 5:35. 7:40 and 9:25- Film Forum- The start of the Forum's NYC Noir series. All films in the series has to be a film noir (or a modern noir) and had to be shot in or take place in at least one of the 5 boroughs. It's starts off with this bitter little gem of a film from 1957. Covering the world of the powerful and corrupt Walter Winchell-type (Burt Lancaster, casting himself against type flawlessly), and the suck-up press agent desperate to elevate himself (Tony Curtis in his best dramatic performance, with the exception of his perf in The Boston Strangler). It seems every other line from Clifford Odets, Ernest Lehman (based on his novella), and Alexander Mackendrick has more acid in it then say, the blood of the creature in Alien. Like with Woody Allen's above film, it captures a version of New York, although one where a lot of its landmarks and some of its texture is long gone. Some of you have seen this with me before, and some of you even stayed awake. The rest who haven't seen it, go. Don't think. Go.


ARMY OF SHADOWS and CRASH (1996)- Sat July 28 at 2 (Shadows) and 7 (Crash)- MOMA- Another chance to catch Army of Shadows. But for the same admission, you can also catch Crash. No, not the Oscar winner that is going to age real bad. But the NC-17 rated film directed by David Cronenberg. Very chilly film. A man (James Spader) who hasn't emotionally or sexually recovered from his traumatic car accident, tries to use a fetish sub-culture of people who get off in car wrecks, watching car wrecks, or having sex while getting into an actual car wreck. Good cast includes Holly Hunter and Rosanna Arquette, in a film not for the emotionally squeamish. I've already received feedback of extreme discomfort from this film. You realize this film doesn't make people have sex in car wrecks, right? It's not exactly promoting this as an enjoyable lifestyle, ok? You do realize this is a film? Does the subject matter make you queasy, or the idea of what Cronenberg could make you think?


THE WOMAN IN THE WINDOW and LAURA- Sun July 29 at 1 (Woman), 2:55 (Laura), 4:35 (Woman), 6:30 (Laura) and 10 (Laura)- Film Forum- Part of the NYC Noir series. First, The Woman in The Window. Meek Edward G. Robinson gets taken in for blackmail and murder by femme fatale Joan Bennett, and needs the help of his D.A. pal Raymond Massey to get out of trouble.

I'll sit through it out of curiosity. However, the film I REALLY want to catch is Laura, in a new 35mm print. Detective Dana Andrews is obsessed with murder victim Laura, played by Gene Tierney. Among the suspects are outwardly suave Vincent Price and ultra prissy, ultra acidic critic Clifton webb (Oscar nominated). We see flashbacks from Laura's life that fascinate the detective more. And then . . . . sorry, if you never saw it, I'm not spoiling it. Though do look for a young (ish, kinda) Judith Anderson.

Among the best of the noirs. Amazing how much sexual tension there were able to get past the Production Code. An Oscar for the Cinematography, additional nominations for Director Otto Preminger (a replacement from Rouben Mamoulian; Otto chucked Rouben's old footage, reshot everything and changed the ending- WOW!), Art Direction and the Screenplay (3 writers were nominated, not Ring Lardner Jr., who did some script doctoring). First come, first served with this one. What I'm surprised wasn't nominated was David Raskin's score, which includes "Laura's Theme", which is hard to forget if you like the film. First come, first served with this one.


THE CAMERAMAN and SPEEDY- Mon July 30 at 7 (Camerman), 8:30 (Speedy, and 10:10 (Camerman)- Film Forum- 2 silent films from the NYC Noir retro. The Camerman was Buster Keaton's last film. The 7PM perf will have live piano accompiment. Speedy is a Harold Lloyd classic, where a former soda jerk turned cab driver has to race the actual Babe Ruth to the old Yankee Stadium, and the hijinks go from there.

Long list. Thanks for the patience, Later all.

July revivals: first half

Mike here with a long list of revivals for the first half of July. First, did catch Texas Chainsaw Massacre at AMMI. Not as scary as when I first saw it as a teenager. But definitely creepy as all hell from beginning to end. A respectable print; I thought it was occasionally out of focus, but I'm guessing it was the way it was shot. And great, the last section with the family all gathered together, with Grandpa with the hammer, rotting meat and actual skeleton had to be clearly in focus. The best 83,000 film I've ever seen. A superior version of a Grindhouse picture then the recent Grindhouse movie, even though I did like it. There's more then one of those types of films on the list, scattered with others. The first film listed is the one I'd like to catch most, with a few others not far behind. Here we go:


AIRPLANE! and THE BIG LEBOWSKI- Mon July 2 at 6:30 (Airplane) and 8:30 (Lebowski)- MOMA- 53rd st. and 5th Ave- Part of MOMA's retro on comedies. One admission covers both films. Now The Big Lebowski is a film that has a major cult following. But I'm not a member of this cult. I admire and at times, like this Cohen brothers film. But it's hard for me to hate one of their films, unless it's The Hudsucker Proxy. That's easy. But I'm willing to give this a second chance. Especially we see the first film.

Airplane was not a high priority for Paramount. The early reviews were mixed, some were even horrible. It took almost 10 months of release, but by then, it became the biggest sleeper hit from that year. And eventually, a comedy classic, with too many quotable lines and scenes to bring up here. I've taken flack for putting this in my top ten of 1980, while leaving out Ordinary People and some other films all together. It's fluffiness of subject matter, is compensated by superior execution.


LE DOULOS- Tues July 3- Thurs July 12 at 5:30, 7:40 and 9:50- Film Forum- A new 35mm print of this film. Opened June 29, but this is the earliest I can go. Do I know this film? Nope. Never heard of it before. Why am I putting this on the list? Because it was from Jean-Pierre Melville, director of Army of Shadows. After seeing that film, I'll catch anything he has directed. Especially at the Forum. If you read previous lists and such between late December and late February, you know how much I've talked about it. But for the rest of you, I'm cutting and pasting from the Forum's website to give all an idea of what this film is about:


(1962) “One must choose: die... or lie?” The only sound the rapping of his shoes on the concrete pavement as the camera tracks ahead of him down an endless underpass during the opening titles, trench-coated Serge Reggiani (Casque d’Or, Army of Shadows) is back from the slammer — but what to do now, even as Monique Hennessy puts him up and old pal René Lefevre offers to stake him. First things first: there’s a debt to be paid and a piece-of-cake heist to be pulled for operating capital — but why are those darn flics here already? Could there be a squealer? That’s the meaning of doulos in French underworld argot (one who wears a doul — a hat — or stool pigeon). And A-list gangster Jean-Paul Belmondo (magnetic in the second of three straight Melville roles) is a prime candidate for the title — even by the cops, with toothpick-chomping Inspector Jean Desailly (the adulterer of Truffaut’s Soft Skin) providing an eight-minute grilling done in a single, 360° panning take, shot in a room full of reflecting glass (take six, and one of the two shots Melville was most proud of in his entire oeuvre; the other was the opening of Army of Shadows). But then the head-snapping plot twists start coming, even as the bodies start dropping — plus homage to Psycho’s doom-laden drive in the rain and a stoically-telling cameo by Michel Piccoli — with the ironies and ambiguities mounting until the very last minute of the picture, and the question of Belmondo’s guilt up in the air until. . . (Belmondo supposedly didn’t know if he was or wasn’t until he saw the movie.) Based on a série noire pulp, Melville considered this his first true policier (calling his earlier noir Bob Le Flambeur “a comedy of manners!”), melding the themes of friendship, betrayal, and tragedy with a star-powered, suspenseful thriller, done in a subtly rendered, studiously unrealistic atmosphere: the phone booths, subway, bar, sash windows, and inspector’s office are repros of U.S. originals, all underlined by an echt 60s Paul Misraki jazz score. This new 35mm print captures the shadowy b&w of cinematographer Nicolas Hayer (Cocteau’s Orphée, Clouzot’s Le Corbeau) and features an all-new translation and subtitles by Lenny Borger. “This mix of Warner Brothers and Rossellini has a forceful, adolescent lyricism. The action is scored to cool vibraphone doodles, punctuated by the ceremonial display key totems (trenchcoats, cigarettes, revolvers) and interspersed with sudden spasms of violence. Melville was not just a father figure of the French New Wave, he was ascetic warrior priest.” – J. Hoberman, Village Voice.

If it's really good and draws a sizable audience, like Army of Shadows did, then it might be extended or come back later in the year. But for now, we must assume the film will end after July 12. Would hate to miss it.


AIRPLANE!- Thurs July 5 at 8:30- MOMA- But if Monday night isn't doable, Airplane can be caught on this night as well. In all the time I've done these lists, going back to 2001, this film has NEVER played in a revival house before, until this month. I can't stress how much I'd REALLY like to make an effort to catch this.


DEAD OF NIGHT and HOMECOMING- Sat July 7 at 4:30 (Dead) and 6:30 (Homecoming)- AMMI in Astoria- 35th Ave. and 36th St- Continuing the horror film retrospective. 2 films telling a very silimilar story, over thirty years apart, each with thier own political purposes of their day. The first film, I've been very curious about. The following I didn't write. Copied and pasted from another website, back when I was ready to cut and paste it as part of something else to forward to others. But it gave such an interesting anylisis, that I saved for this. Sorry I don't know who wrote it, but if you tell me, I'll be sure to credit the person.

Directed by Bob Clark

Almost a decade before Clark made a mainstream name for himself with "Porky's" and "A Christmas Story," he turned out this rough but wickedly effective indie horror film equating zombism with Vietnam vet trauma. The Brooks family hasn't heard from soldier son Andy for long enough that his father and sister suspect the worst; it's only his devoted mother who keeps the faith with a fervor that borders on madness. Her conviction that her son is alive seems to actually pull him from the grave — he arrives in the dead of night, having hitchhiked to the house, and, given that we witnessed Andy's death in the jungle before the opening credits, it's clear nothing good is in store. Andy's changed — he's monotone, unresponsive and spends most of his time staring at nothing from a rocking chair on the porch. Oh, and he's picked up an addiction — he needs injections of fresh blood to keep himself from rotting. Dread builds over the course of the film, but so does a sense of tragedy; everyone is unable to understand that Andy has been (literally, in his case) to hell, and can only respond with frustration that he's not the same.

It's double featured with Homecoming, directed by Gremlins's Joe Dante, for Showtime's Masters of Horror series. A representative for the current administration wishes on TV that someone's son, who was killed in a war that resembles the Iraqi conflict, could come back to life to explain why he died. The son does indeed come back from the dead, along with every other soldier killed. They've come back for revenge. And to do it the only way they know how. By voting Republicans out of office. Should make an interesting double feature.


RED BEARD and George A. Romero's MARTIN with (maybe) 28 WEEKS LATER- Sun July 8 at 1 (Red Beard), 4:30 (Martin) and 6:30 (Weeks Later) - AMMI in Astoria- An interesting potential double feature; a triple feature if you're insane.

First is Red Beard. Not a horror film and despite being a Kurosawa/ Mifune film, it's not a Samurai film either. A medical drama, starring Mifune as a taskmaster doctor in 19th century Japan, who slowly teaches his arrogant pupil how to become a better doctor, and a better man. The last of the Kurosawa/ Mifune films. Note that the film is 3 hrs, 5 min long. Especially make note of this if you're interested in one of the other films later in the day.

Next is Martin, a George A. Romero film from 1978 (U.S. release). As opposite from Red Beard as you can get. A film most people in general and most horror fans under the age of 32 probably don't even know exists. One part horror, and one part psychological thriller. We meet a lonely, emotionally damaged teenager, who claims to be an 84 year old vampire. So what if he can walk in the sun, remain unaffected by garlic, crosses and holy water, and doesn't even have fangs? Razors work just as well as fangs . . . Over ten years before the Nicolas Cage film Vampire's Kiss, this covers part of the same ground, but supposedly better. Never seen it, except for a few late night clips that got me real interested. Hard to find on video, except on an early 80s tape, and good luck finding the 2000 DVD.

Next is 28 Weeks Later, a sequel to 28 Days Later. Not a revival, but then again, since it's mostly out of New York theaters and with mediocre box office returns, maybe it is time to consider this as a revival now. Not superior to the original, but it has its own effective scares. Plus with a sucker punch attitude to current U.S. foreign policy that rivals anything done by the previously listed Dead of Night and Homecoming. Or anything done by Michael Moore.

Now I can imagine doing two of these films. I've already seen 28 Weeks, so I can only imagine seeing this again with someone chomping at the bit to go. GET IT CHOMPING AT THE BIT?!?! ZOMBIES . . .CHOMPING . . . I suck. Anyway, I could go for 2 films, but all 3? 12:45 to about 8:05? Oh my back . . .


WAIT UNTIL DARK- For free at Bryant Park- Mon July 9 at sunset (Rain date Tues July 10)- 6th ave and 42nd st is but one area enter from- This Audrey Hepburn suspense film is a little dated. But this story of a blind woman being manipulated by three criminals, should play well in Bryant Park. Among the criminals is Alan Arkin, in a performance that verges on, but never crosses over into camp. The final confrontation should be perfect in the park.


A MIDSUMMER NIGHT'S SEX COMEDY and SMILES OF A SUMMER NIGHT- Wed July 11 at 6 (Sex) and 8 (Smiles)- MOMA- 2 comedies with a similar story; of lovers who come together, split apart, and/or form new relationships with other people in the story, all during a summer night or 2 or 3. The first, a Woody Allen comedy that got steamrolled in the summer of E.T. In the cast are Allen, Tony Roberts, Mary Steenburgen, Jose Ferrer and in her first Allen film, Mia Farrow. I believe she and Allen fell in love while making this film. Ignore the fact that she was nominated for a Razzie award for her performance.

This is double featured with the film that Allen remade/ did a variation on: Ingmar Bergman's Smiles of a Summer Night. Later used as the basis of Sondhiem's A Little Night Music. If you can stand the fact that Send In The Clowns will not be sung, I think you will like this.


LOOK BACK IN ANGER- Sat July 14 at 1:30 and Sun July 15 at 8- Walter Reade at Lincoln Center- Part of the Leading the Charge: Woodfall Film Productions and the Revolution in '60s British Cinema retrospective. The success of director Tony Richardson and playwright John Osbourne's play Look Back In Anger, enabled them to create Woodfall Film Productions, a place to prove that you didn't need Hollywood to make affordable films that will find an audience. Their adaptation of the play was the first hit, credited as the start of the Angry Young Man films. Either way, the chance to see Richard Burton at the height of his pre-alcoholism powers should be a draw all by itself.


THE ENTERTAINER- Sat July 14 at 6:30 and Sun July 15 at 3:30- Walter Reade at Lincoln Center- Part of the Leading the Charge: Woodfall Film Productions and the Revolution in '60s British Cinema retro. One of Laurence Olivier's most famous non-Shakespearean roles, though it does have those aspects. Playing an over the hill, second rate vaudeville actor, making one last grab at stardom in a falling apart music hall. Not what you would call a happy movie, which might explain the respect, but lack of audience in the U.S. A Best Actor nomination for Olivier. Hell of a supporting cast, with Albert Finney, Alan Bates and Joan Plowright (Olivier's future wife). From director Tony Richardson.


THE HOUSE BY THE CEMETERY and/or ICHI THE KILLER and/or WOLF CREEK- Sun July 15 at 2 (House), 4 (Ichi) and 6:30 (Wolf)- AMMI in Astoria- 3 different horror films. The first, an Italian flick from 1981 (released in the U.S. in 1984), that's kind of an unrated or hard R variation of The Amityville Horror. This is the original release, not the British version with 2 minutes cut, or the U.S. DVD version with 5 minutes cut, or the first U.S. VHS release, where they mixed up the order of the middle reels!

The second, is an interesting but bizarre Japanese, Hong Kong, South Korean flick from 2001, about a battle between a hitman and a crime boss. The blood flows, limbs fly like tissue paper, and disfigurement, sadomasochism, and psychotic behavior flow almost as much as the blood. 2 hours, 9 min long, but rarely dulll.

The last is an Australian flick where attractive teenager-types, meet one seriously bent middle aged killer. Partly docu-drama, partly Texas Chainsaw Massacre. Drew some attention being the only slasher film released on Christmas Day 2005, with praise from Quentin Tarantino. Then again, Tarantino praised Hostel, and I'm ignoring that film in AMMI's retrospective. Side note: are we surprised that Hostel 2 will only make around a third of its predecessor's box office cume? Are you telling me that seeing Weiner Girl as an adult, topless and hanging upside down, while she's cut open like a spigot is NOT a box office draw?!?!? If that sight can't even make ME pay to see this, then forget it.

Anyway, my preference in what to see is listed in the order they appear, though it should be noted that it may not be easy tracking down the first 2 films on DVD, so this might be your only chance, unless you get real lucky with either IFC or Showtime. I'm sure they'll have another episode of the original Spider-Man animated series at 1pm, but check the Moving Image website to find out more when that weekend draws near.


A FOREIGN AFFAIR and NINOTCHKA- Sun July 15 at 6 (Affair) and 8:15 (Ninotchka)- Symphony Space at The Leonard Nimoy Thalia- Part of the Thalia's series of double features. One starring Greta Garbo, the other starring Marlene Dietrich. The first, A Foreign Affair, stars Dietrich and Jean Arthur (Mr. Smith Goes To Washington, Shane), directed and co-written by Billy Wilder. To quote the plot outline from imdb, "In occupied Berlin, an army captain is torn between an ex-Nazi cafe singer and the U.S. congresswoman investigating her." Wilder had extreme difficulty working with both actresses, quote "I have one dame who's afraid to look at herself in a mirror and another who won't stop looking!" Take a wild guess which ones he meant.

Oscar nominations for Wilder, Charles Brackett and Richard L. Breen for the screenplay, and for the Cinematography. It's a shame that I'm a little indifferent to catching this. Don't get me wrong, if I had no desire whatsoever, it wouldn't be listed. That said, I have slightly less desire to see this than say, the Asian S and M/horror/action/comedy/I don't know what the fuck that is, or the Australian slasher film. Cinephiles could be highly insulted by that statement I imagine.

I have more interest in the second film, Ninotchka. Classic comedy where Greta Garbo as a stern commie woman who falls for decadent capitalist Melvyn Douglas. With Bela Lugosi. Oscar nominations for Picture, Garbo, Story and Screenplay, co-written by Billy Wilder and Charles Brackett.


Let me know if there's interest. A push for Airplane, the Melville film and some of the stuff at the Forum. But catching any of these would be fine. If you don't like some of the horror films listed, some better ones are coming down the pike. Later all.

Alessandra Ferri at ABT

I know I'm going off on a different tangent from what I normally cover. However, I was there for her last performance at Lincoln Center. I'll go into more another time, but for now, I'm ready to go to sleep. So here are some pix I took from the curtain calls. Not my best angle, but it's where it's where I was allowed.
Some I have tried to fix, since I had no time to compose these shots, but again, there's this whole sleepy thing I'm going through right now. The occasional blur or saturation problem will appear, but I'm just putting them out right now. Later for now.

June revivals: second half

Mike here with a list of what to catch in the second half of June. It veers a little toward horror, mostly because of AMMI's retrospective of classic and forgotten horror films of the 70s and this decade. Speaking of which, we start the list with one of the best in the retrospective:


THE TEXAS CHAINSAW MASSACRE with a Spider-Man episode at 1pm- Sun June 17 at 2- AMMI in Astoria- 35th Ave. and 36th St- Part of the retrospective of Horror films of the 70s and today (not necessarily in-between). Here's an example of a successful independent film. One of the best horror films ever made. One of the few that can elicit some jumps even on home video. Not nearly as bloody as you think. Shot and edited in such a way that it is implied, but usually not shown. Helped put New Line Cinema on the map. Forget all imitators/remakes. For horror fans and those who came to like well made films of all genres, go.

If we get there by 12:45, we will be able to see an episode from season 1 of the original Spider-Man series. Cool intro and ending credits. A 16mm collector's print will be screened.


THE THING FROM ANOTHER WORLD- for free- Mon June 25 (Rain date Tues June 26)- Bryant Park- 6th ave and 42nd st is but one area enter from- Park opens at 5- Film starts at sundown- I know this is late in terms of when the free Bryant Park series starts. Annie Hall kicks it off on June 18. But I can't make it, the film is the dialogue heavy, and if you're in the wrong part of the park, or with people who are bored by that on a hot summer night, forget it.

The Thing from 1951, now that I can do. Directed by Christian Nyby and others are credited for the screenplay, but ignore all that. It's a Howard Hawks production all the way. Hawks brought the tough guy types that he used in Red River and The Big Sleep, while having the snappy pater and strong female type that he used in His Girl Friday. Isolated Air Force personnel and and scientists at the Arctic must stop a killer alien (James Arness, years before Gunsmoke), intent on mass self-breeding and world domination. Simple story, well told. The dark shadows and evil music should be effective in the dark city park. Hopefully, there won't be as many pot smokers, but we'll see. Rain date I believe is Tuesday the 26th.


EL DORADO- Wed June 27 at 6 and Sat June 30 at 6:30- MOMA- 53rd st. and 5th Ave.- Part of the John Wayne retrospective. Speaking of Howard Hawks, here's a film he directed, with a screenplay from Leigh Brackett (Hawks' favorite screenwriter because she "wrote like a man"; wrote the first draft of Empire Strikes Back before passing away). Essentially a lighter-hearted remake of their earlier Rio Bravo. Wayne reprises his role of a gunman helping his drunken sheriff friend get sober, and get the bad guy. Instead of Dean Martin, we get a tougher Robert Mitchum, who handles the humor quite well. Instead of Ricky Nelson, we get a major upgrade in James Caan, who can actually act. He handles the young rookie type well, though a scene where he "plays Chinese" will certainly be cringe inducing now. No brain surgery here folks, just a fun Western.


GYPSY- Thurs June 28 for 6.50- Chelsea Clearview Cinema- W. 23rd and 8th- A good movie musical that has become forgotten today. Not songs like Everything's Coming Up Roses, the persona of the domineering stage mom, or actress Natalie Wood in the title role. But the actual 1962 movie itself. Even annoying community theater types will run their VHS copies of the Bette Midler remake into dust with all their playing of it, before they even give this a sniff.

Maybe a little happier then typical biopics. And maybe a little surprising that for a film about the famous Gypsy Rose Lee, that the star is her mother Rose. But since Lee wrote the original book this was based on, let's cut this a little slack. Wood is lovely and good as Louise/Gypsy, and Karl Malden provides strong support. But in the end, it's Rosalind Russell's show as Mama. Oscar nominations for Cinematography, Costume Design and Music treatment.

There is also a 10pm, but there's no way in hell I'm staying out there for that long a movie. This isn't Barry Lyndon after all.


NEAR DARK- Fri June 29 and Sat June 30 at 6- MOMA- An archival print from director Kathyrn Bigelow. From a cult hit from 1987. Not so much at the box office, but from home video and cable. A teenage boy (Adrian Pasdar of Heroes), picks up a cute girl. She likes him. Then she bites him, thus turning him into a vampire. He ends up joining the girl's "family" of vampires, as they terrorize and feed of people in Oklahoma. The "family" includes Lance Henriksen and an especially brutal Bill Paxton, a year after their appearances in Aliens (Jenette Goldstein, Vasquez in Aliens, also appears as a vampire). Forgotten now, but for those who were video renting in the late 80s/early 90s, it was one of the few horror films that were released in that era worth repeated viewings. But most of us have never seen it on the big screen. Now is the time.


THE GREAT DICTATOR- Sat June 30 at 1:30- Walter Reade at Lincoln Center- Chaplin's first talking film, and the first (and for a while only) attacks on fascism. Where a dictator who wants to take over the world, is mistaken for a humble jewish barber. I know, a Cliffs Note-type description of the film. Banned in Germany until 1998. Banned in Spain until Franco died in 1975. 5 Oscar nominations, including Picture, Actor and Screenplay for Charles (not Charlie, so that people would'nt think of this as a Little Tramp film.). A Chaplin film that I'm painfully unaware of beyond the basics, but one I'm interested in catching.


IT'S ALIVE with an appearance by director Larry Cohen- Sat June 30 at 2- AMMI- However, if heavy-handed fascism satires don't cut it for you, how about a 70s horror satire. Playing on the fears of child birth, Writer-Director Larry Cohen's surprise 1974 hit (39 mil according to the Village Voice), has the newborn, effected by the pills and the medicines of the day, killing right out of the womb. Note the babycam, as it attacks or runs away. It only attacks when its scared, but it seems to get scared quite a bit . . .

And the authorities don't want to know if other babies, whose mothers are taking the same prescribed drugs, are afflicted or why. It's KILL KILL KILL time! Let's just say, humanity is not portrayed in its finest here. Worth catching if you've never seen it.

Writer-director Cohen appears at the screening, though I don't know if he's introducing the film, or doing a post film Q and A. We'll see.

I make the biggest push for Texas Chainsaw and The Thing. The later should be fun on a hot summer night. Are we ever going to get some those I wonder . . . Anyway, let me know. Later all.

June revivals: first half. Small list.

Mike here with a list of what to catch in the first half of June. Small list. Please note, this is based on what I can definitely or tentatively make as of this writing. For example, Faces and The Conversation are playing at MOMA this weekend, but I can't make it, so forget it. Same with a Midnight screening of Fight Club at Landmark Sunshine, unless there's someone dying to go this Friday and can at least drive me home.

Since there aren't a lot of films listed here, let me talk about the screening of Barry Lyndon at the Walter Reade in Lincoln Center Tuesday night, May 29. Don't know why the 7pm screening had to start so late. Yes I know it was sold out, but if people can't get to their computer-bought tickets in a timely manner, or if it takes forever to get popcorn, that's not a reason to at least start the intros late.

That said, I got to revise my outlook on Barry Lyndon. I'm slightly more mature to appreciate it more. But only slightly. It helped that with this new inter-negative print, this was the best looking print of Lyndon I've ever seen. One of my favorite film logos from that era, from Lyndon that night, is posted above. Superior in sight and sound to the mediocre prints I saw years ago at Cinema Village and the late Screening Room, early this decade.

What also helped was no intermission. The "intermission" title card was shown, and the intermission music was played, then the film continued. I didn't get a break, then had to re-engage 10-15 minutes later. It forced me to concentrate more, and kept me interested. Granted, I gave up on any help for my back, and I'm sure other people's bladders went into knots. Nice job not announcing this.

But not only was the print worth catching, so was the post-film Q & A with co-star and now producer(Little Children) Leon Vitali. One of the most interesting Q & A's I've been to in the past 4 years. An engaging man who enjoys talking about whatever was brought up, whether it was Kubrick, the film, or the process of preserving the film, among the many topics brought up. It ended after 25 min, but it felt like if it was possible, Mr. Vitali and a lot of us would stayed even longer. Though my empty stomach appreciated it enough that I ate at the nearest diner. God, a turkey burger and the world's greasiest chicken fingers never tasted so good.

Because of the lateness of the time, half the people had to leave. And due to an apparent lack of preparedness, early hand raisers were ignored. Except for the one clean-shaven, 20something film school-type schmuck with brown hair, some kind of British dialect, who showed up with other male friends, who raised his hand constantly, repeatedly and emotionally, to the point where it seemed he would die on the spot if he was ignored. Even while Vitali was busy answering a previous question as long as he needed to take. I'm thinking "Yes, please pick this idiot and put him out of his misery. And ours." And then the kid couldn't spit out the question coherently, IDIOT!!! This is for the moron and the rest of you as a helpful suggestion. If you can't ask your question in 10-15 seconds, don't pollute the air with your babble.

Now I've vented, so on with the list. Here we go:


SHOCK CORRIDOR and THE BIG RED ONE- Sun June 3 at 4(Shock) and 6:30(Big Red)- AMMI- A double feature of 2 Samuel Fuller films. First, Shock Corridor. A 35mm archival print from UCLA will be screened. A film considered important enough to be included in the Criterion Collection, along with the 7 Samurai, Salo, Life of Brian, Fat Girl, and Armageddon. So yeah, take that as you will. Never seen it, but very curious. A reporter tracks a killer to an insane asylum. So he decides to commit himself to get closer to the killer. And guess what? An insane asylum is NOT A NICE PLACE TO BE!!! SCHMUCK!!! Anyway, wouldn't mind seeing this.

Double featured with The Big Red One. A restored 35mm print. A semi autobiographical Fuller film that is episodic in nature, covering the exploits of the famous WW2 Army unit. Among their exploits, were being part of the first to land in North Africa, being stuck on the beach on D-Day, and being the first Allied unit to see a concentration camp. Starring Lee Marvin as the tough, cigar-chomping Sgt., Mark Hamill in his only non-Star Wars performance worth noting (Joker voice overs don't count), and Robert Carradine as the pseudo-stand-in for Fuller.

Came out and flopped in the summer of 1980. It was either the original backers, Lorimar, or the film's distributor, United Artists(bracing for a period where they would have every summer flick bomb, plus the coming of Heaven's Gate), that took the picture away from Fuller, and tore almost an hour away. 45 min have been restored, and it gives the viewer an impressive odyssey. Maybe not better then Private Ryan, but a more personal, emotional and embracing war picture, then say, Eastwood's decent Flags of our Fathers.

Now I've seen this version already. I'd like to see it again with someone who's never seen this. I'd really like to see this with Shock Corridor, but you'll tell me.


MY BEST FIEND- Thurs June 7 at 7:30- Film Forum- One of the more explosive actor director collaborations, was between director Werner Herzog, and actor Klaus Kinski. To call this a love/hate relationship, might be an insult to the terms love and hate. We see behind the scenes footage from all 5 films, and none of it quiet. To give you an idea, the natives of Aguirre, The Wrath of God, offered to kill Kinski for Herzog! You see the offer. Should be very interesting to watch. Double-featured, with Herzog's Grizzly Man, a runner-up for me for my Top 10 of 2005. Stirring and worth catching, if you think you can take it.


LET'S GET LOST- Fri June 8 at 7, plus 9:30 on all weekdays from Fri June 8- Fri June 15, and 3:30 and 4:30 on Wed June 13- Film Forum- An Oscar nominee for Best Documentary, now in a restored 35mm print. NOT available on home video, except for out of print VHS from the early 90s. Photographer Bruce Weber covers the life of jazz great Chet Baker. A star in the 50s, we see him in the last 2 years of his life; ravaged by alcohol and heroin addiction. You see clips and photos of him from the 50s. You see interviews with him, his kids, his colleagues, his 3rd wife, and his former girlfriend, singer Ruth Brown. Not everyone loves the guy, as you might imagine. And of course, you hear the music. Would REALLY like to catch this. According to the Forum website:

This performance Director Bruce Weber will introduce the 7:00 show of Let's Get Lost on Friday, June 8. The screening will be followed by a Q&A with Bruce Weber and LGL's director of photography Jeff Preiss.

It's questionable if I can catch that screening, but there are others during this engagement. I list the above paragraph for those who are interested.


BACK TO SCHOOL- Fri June 8 at Midnight- Landmark Sunshine Cinema- For 80s film fans, here the surprise comedy hit of the summer of 1986. Rodney Dangerfield plays a rich businessman, who sees the only way to keep his son interested, is to enroll himself. Fun, amusing, and surprisingly warm at times. Interesting cast: future director Keith Gordon as the son, Burt Young as the chauffeur, Robert Downey Jr. as the son's punkish best friend, DS9's Terry Farrell as the son's dream girl, Sally Kellerman and Sam kinison as professors, Ned Beatty as the dean, and Danny Elfman (who did the score) with his band Oingo Boingo, performing.

Let me know if there's interest. Later all.

May revivals: second half

Mike here with revivals to catch for the second half of May. But first, I should comment that the Film Forum has done a nice job with the Bond films. All the prints, except for For Your Eyes Only, have been in very good condition. And even Eyes Only, with its slight red tint in the black and dark areas, plus a slight overall fading, was still pretty decent. As much as the Moore haters may not like The Spy Who Loved Me, this is better then a lot of the summer blockbusters that have come out over the past couple of years.

The showing of classic trailers was a a fun touch, though I don't need to feel old by being told by the Forum that Octopussy is considered vintage. I agree with Ed, the Diamonds Are Forever trailer looks like it sat in someone's closet for over 35 years.

The karaoke sing-a-long of Goldfinger and From Russia With Love were such nice touches, I missed them for Spy and Live and Let Die. I never realized what horrible lyrics Goldfinger had. The Chinese karaoke version of Russia was funny. The video storyline was bizarre, and I'll make a stab at describing it. A man sits on a chair, in the world's brightest yellow sweater, looking at pictures of the girl he used to love. At one point, he turns into a seagull and . . . HUH?!?! HE TURNS INTO A SEAGULL? WHAT THE HELL IS WRONG WITH THE CHINESE?!?!?!?

Anyway, enough digressing. On with the list:

THE MAN WITH THE GOLDEN GUN- Wed May 16 at 4:30 and 7- Film Forum- This is still doable, Moore versus Christopher Lee. I already wrote about this in the previous list. If you have nothing better to do then to twiddle your thumbs, go for it.


NEVER SAY NEVER AGAIN- Thurs May 17 at 4:30 (tentative), 7 and 9:40(but for the love of God let's avoid it)- Film Forum- The end of the spy film series at Film Forum. A reminder to catch Connery's last Bond. I wrote about it in the previous blog, so I won't do so now. As of this writing, 7 is preferable. I would like to avoid 9:40 if humanely possible. Another screening might be easier, but that would require getting a hold of me.


THE LONG GOODBYE- Fri May 18, Sat May 19 and Tues May 22 at 5:30, 7:40 and 9:50- Film Forum- Due to popular demand, the Forum is bringing back the Robert Altman adaptation of the Raymond Chandler novel, starring Elliot Gould as Phillip Marlowe. The same new 35mm scope print that was being screened earlier. Those of you who haven't seen it, this is a great chance to. I've written about this before, so the only thing I'll add this quote I received from the Forum's email system. This is from Terrence Rafferty of the New York Times: “Watching The Long Goodbye in 1973, you could feel Philip Marlowe dancing on his own grave. Watching it now, you can see Robert Altman dancing with him.”


JULES AND JIM- IFC Film Center- Sat May 19 at Noon- IFC Film Center- I brought up the Truffaut classic back in December. It plays again this month. Don't think I have to go much further. Though I would like to bring up, if you're ambitious, we could do Jules and Jim at noon, followed by Long Goodbye at 5:30, with a long lunch in-between. For those who can do it and haven't seen either film. Just a suggestion.


THE DIRTY DOZEN- Wed May 23 at 1:30- Walter Reade at Lincoln Center- Part of the Lee Marvin retrospective. A new 35mm print of one of the best action/war films ever made. Was probably the biggest commercial hit of that year, though I have no stats to bear this out. Was a definite crossover hit in its time, among males of different ages. The older men saw it, and tended to enjoy it, remembering how the military, or war was. The younger audiences liked the idea of these anti-heroes sticking it to the man, yet still killing Nazis in the end.

A bunch of solider/convicts with death or life sentences agree to what is essentially a suicide mission to wipe out a castle full of high ranking Nazi officers. The members of this tough platoon include Charles Bronsan, Telly Savalas, Donald Sutherland, Oscar nominated John Cassavetes, and Jim Brown, running the most famous yards he never ran on a football field. And Marvin is the world's toughest Major; taking no crap and taking no prisoners as he leads his group to hell. Sorry if it sounds cheesy, but wow, do I enjoy this thoroughly macho movie.


DAY OF THE LOCUST- Sat May 26 at 6- Walter Reade at Lincoln Center- Part of the John Schlesinger retrospective. The only one I know I can make as of this writing, since Midnight Cowboy at 3:45, as much as I would want to catch it, is too tentative to confirm right now. But this one I'm pretty sure I can catch. From 1975, a more acidic look at Hollywood then Sunset Blvd. and The Player combined. A man tries to start a movie career, but is soon surrounded by shallow empty people more interested in sex, drugs and trying to kill boredom. Gee, guess Paris and her ilk would have felt right at home in the 30s according to this film. The film co-stars Donald Sutherland, Karen Black and Burgess Meredith, with a small role from Jackie Earle Haley. Oscar nominations for Meredith and cinematographer Conrad Hall (American Beauty, In Cold Blood). The end is considered a stunner.


BARRY LYNDON- Mon May 28 and Tues May 29 at 7- Walter Reade at Lincoln Center- I've taken grief from other Kubrick fans I know, by not saying this is my favorite of his films. It's not even in my top 5. Compared to some others, I've barely given this film a thumbs up. But people forget I did give it a thumbs up. What I can't say I was thrilled with, was the print I saw at Cinema Village back in 2000 or 01 (I forget which). Not top quality I'm afraid. Supposedly, this is a restored, unscreened, 35mm print. The work was supervised by Kubrick's former assistant, Leon Vitali, who plays Lord Bullingdon. Hopefully, this is as good as the Walter Reade at Lincoln Center is trying to make it out to be.

Supposedly, Vitali will introduce at least 1 screening, which happen twice a day from May 27-May 29. But they haven't mentioned which screenings on the website. Supposedly Marisa Berenson, who plays Lady Lyndon, will introduce one screening, though the website doesn't confirm this either. As for me, I haven't said I will definitely do this. After all, I caught this twice earlier this decade. And the film is 3 hrs, 4 min long, plus an intermission and not counting any intros. I just mention when I could do it. The rest is up to you.


GATES OF HEAVEN- Tues May 29 at 7:50- Film Forum- The documentary that put Errol Morris on the film map. Siskel and Ebert were his biggest supporters when this quirky documentary came out. It covers a California pet cemetery, the people who who bury their pets there and the people who run it. Might be tough to take for pet owners. That's why it was a hard for me to watch it on TV. I didn't finish it there, but I'm willing to take a chance now.


THE ADVENTURES OF PRISCILLA QUEEN OF THE DESERT- Thurs May 31 at 7 for 6.50- Chelsea Clearview Cinema- W. 23rd and 8th- A cheap screening of the sleeper hit of 1994. Years before Hugo Weaving appeared in blockbusters like The Matrix and Lord of the Rings, as well as voice overs in V For Vendetta, Happy Feet and as Megatron in the upcoming Transformers film, he starred as a drag queen in this Australian dramatic comedy. He must pay off a favor by traveling to an out of the way resort, to perform a cabaret. He brings 2 other friends/performers, another drag queen (Guy Pearce, years before L.A. Confidential and Memento) and a transsexual (Terence Stamp, in one of his 2 comeback performances in the 90s.), and travel in their lavender bus, Priscilla. Glorious costumes that won the Oscar that year, even if one of the dresses were done for as little as 7 dollars. Yes, you can spend only 50 cents less to see this, then for what one of the dresses cost.

Works as a road picture. Works as a buddy film. Works as a drama. Works as a comedy. After the mid 90s, this film has been gathering some dust on the video shelves. So some of you might not know or remember Priscilla. Time to rectify this.


Different list, let me know. And for those of you doing Magical Musical Moments 6: Mostly Broadway! at Trinity Lutheran Church for the next 3 weekends starting with this one coming up, break a leg. Later all.

Film reviews: cleaning house part 1

I'm so backed up with potential reviews of films I've seen, it's not even funny. The only way I can spit anything out at this point is to write in a manner similar to my revival lists. So let's try that. Here we go:


300- Here's a film that satisfies one half of me. The emotional side that's getting a nice amount of blood-letting, and over the top fun. They don't make sword and sandal flicks anymore, not without an air of pretension like in Gladiator anyway. Don't hold your breath for historical accuracy either. Especially with the 8 foot, androgynous, drag queen, also known as Xerxes. Just expect a different looking world. More enjoyable then the previous Frank Miller adaptation, Sin City. Loved the look of that film, and it was decent, but I didn't become one of the fanatics who overpraised it. This is campy fun, helped by the best CGI environment seen in a long time, and some good to very good bloody battle sequences. It's hard not to leave this film without quoting a few lines. On opening night, it was hard not to transpose the lines. WE SHALL DRINK . . . IN HELL. WE SHALL PLAY THE JUKEBOX, IN HELL! THIS . . . IS . . . SPAR_TAAAAHHHH!

We get a new A-list type action film lead in Gerard Butler. You believe in him, his ability to disembowel 12 men in a minute, and you buy Butler's ability to make the worst-written line credible. Much like Errol Flynn in Captain Blood, Butler succeeds in making chicken salad out of chicken shit with his dialogue. In weaker years, Lena Headey's performance would get deserved dark horse consideration for an Oscar nomination for Best Actress. We'll see.

If one wishes to look into subtext with this, knock yourself out. If you want to say, view this as Gay decadent society, trying to impose their will against a bunch of macho, gay bashers who are trying to hold the principles of gods and self-discipline by any means necessary, go ahead. If you want to place a certain current president into the role of Xerxes, as he leads his vast superior numbers, in a losing war against a small army having home field advantage, go ahead. If you want to have said president represent Leonidas, as he sticks to his principles and deals with an Arab force intent on wiping out his people's way of life, go for it. You see this film, you realize all of that it is a little much. Just have bloody fun. I'd go to see it again on the IMAX screen, even though as of this writing there might be only one or two more days to catch this before Spider Man 3 comes in. As it was, seeing it from the third row, having the picture almost permanently imprinted on my left eyeball seems as good as it will get.


BREACH- This film satisfied the intellectual side more. Not only is it not the bloody spectacle that is 300, watching this film was almost like watching Leonard Nimoy play Spock through all 3 seasons of the original Star Trek. Emotions stifled to the point that if you prefer Star Wars action all the time, you will be bored. But when some emotion comes out, you really take notice.

It says that it's based on a true story, but consider this as a Cliff Notes version of the capturing of Robert Hanssen, a veteran FBI agent convicted of selling secrets to Russia, both when it was the Soviet Union and after. Perhaps a little too much story is placed on the young undercover agent ordered to gain Hanssen's trust, but it's not a fatal flaw by any means. It moves fairly quickly and is never boring. But it feels familiar and while I would recommend paying to see it, I guess I can see why it's not a big hit. It feels like other non-Bond, Non-Clancy spy films and you can look at it and say, "do I really need to go pay 10 dollars for this? NAH! Wait for the DVD."

It's interesting to see Ryan Phillippe continue to stay under the radar and give good performances. Crash, Flags of our Fathers, and now this. He's in the young pup learning/ rookie who must take down the master role, and under these 2 dimensional confines, he handles himself well. Especially when compared Laura Linney, who's adequate but can't rise above the limits of playing Phillippe's handler, or Dennis Haysbert, who can only come in and out, doing the authority voice thing that could be a trap later on.

But Chris Cooper is working on a different level, playing Hanssen. Bitter about his level in life, a god fearing man who records and distribute sex tapes of him and his wife. A talented man whose arrogance and paranoia have bent him all out of whack. A man who, in getting his revenge and in an unspoken manner, seems to equate stealing office supplies, objects in other people's offices, and state secrets as one in the same. He could take the time to explain his motives directly, but what's the point, I did it, deal with it. Cooper makes each conflicting move believable, and except for the last scene (you'll know what I mean when you see it), raises the level of the film above the typical.

Note: Hopefully when this comes on DVD, they'll have digitally removed the boom mikes that crop up on screen from time to time. They can't change the fact that The FBI is using Windows XP Office here, even though the film takes place in Jan-Feb 2001, and this particular form of Windows would not exist for several more years, but anyway . . .


RENO 911:MIAMI- The Comedy Central show is good in spurts, and this film is much the same. Imagine a platoon-like group of officers of varying sizes, genders, and ethnicities with one thing in common, they all learned police work from Inspector Clouseau. Not a bad performance from any of the main actors, and Paul Rudd is hilarious as a Jewish Tony Montana. Seems to follow a partial script, with Cops-like camera work done to the point that you might think they're doing a Borat-type film from beginning to end (I think that's where most of the deleted scenes on the DVD will be).This would be a fun rental, but worth the price of a 10 dollar admission? I don't think so. Apparently, most of America agreed, but this looks like a mega-hit and a comedy classic when compared to . . .


I THINK I LOVE MY WIFE- A romantic comedy that's not funny. Not one laugh out of me. Not. One. Laugh. A few smiles here and there, but that's it. One reason I went was because I liked the trailer, though all the moments I laughed at then, I couldn't repeat now. The other reason I went, was because the friend I was with REALLY wanted to see a movie after work, and it was either this or The Reaping. A few weeks later, he asked if I wanted to see the Hillary Swank film, and I said hell no. You had your chance back then, but now, no way.

Once again Chris Rock remakes a superior film into a comedy of his own creation that barely resembles the original. Unlike the Heaven Can Wait/Here Comes Mr. Jordan remake Here on Earth, which has some scattered laughs throughout, this remake of Chole In The Afternoon tries and fails badly. Minus the nudity in order to get a PG-13 rating(that attempt failed), and with adult sensibilities that don't work on Chris Rock. The only laughs from the sparse crowd at Fresh Meadows came from those under 25, and they were all dick jokes. Minus Kerry Washington, there is little reason to stay interested. No sympathy for Rock, who is tempted to cheat, nor for the shrill wife with no sex drive, nor the other woman with a bod for sin, and the emotional depth of a 15 year old on a good day. If Sean Penn had the capacity to laugh, he would laugh at this schmuck and not the film. And when I say laugh at the schmuck, I mean Chris Rock the amatuer actor and director, not his character. We could laugh at Rock's film career going bye-bye, no matter what Madagascar 2 does. Avoid this film if you know what's good for you. Don't make my mistake. I didn't pay to see this and I'm still annoyed at the thought of it.