A Movie A Day #252: The Death Collector (1976, directed by Ralph De Vito)


Jerry Bolanti (Joe Cortese) is a cocky loud-mouth who has just returned to New Jersey after serving a prison sentence.  Jerry needs a work so a mid-level gangster named Tony (Lou Criscuolo) hires Jerry as a debt collector.  The problem is that Jerry is just not very good at his job.  His attempt to collect money from Bernie Feldshuh (Frank Vincent) leads to Bernie hiring a legendary hitman (Keith Davis) to kill Jerry.  Despite working with two experienced enforcers, Joe (Joe Pesci) and Serge (Bobby Alto), Jerry’s next job is just as unsuccessful and leads to even more unnecessary deaths.  Tony starts to wonder if maybe he made a mistake giving a job to Jerry and, unfortunately, no one simply gets fired from the Mafia.

A low-budget and nihilistic film, The Death Collector occupies a strange place in film history.  Though it was largely ignored when it was first released, one of the few people who did see it was actor Robert De Niro.  De Niro brought the film to the attention of Martin Scorsese, who was casting Raging Bull at the time.  Both Joe Pesci and Frank Vincent made their film debuts in The Death Collector and, after watching the movie, Scorsese cast both of them in Raging Bull.

The rest is history:

In Raging Bull, Pesci beats up Vincent.

In Goodfellas, Pesci kills Vincent.

In Casino, Vincent finally gets to kill Pesci.

If not for The Death Collector, Frank Vincent would never have told Joe Pesci to “get your fucking shinebox.”  If not for The Death Collector, Joe Pesci would never have thrown Frank Vincent in that trunk.  It all started with The Death Collector.

As for the film itself, The Death Collector was filmed on location in New Jersey and it occasionally has a raw and intense grittiness but it suffers because there’s never any reason to care about Jerry.  He starts the movie as an asshole and he ends the movie as an asshole and Joe Cortese’s bland performance fails to make Jerry into a compelling antihero.  The Death Collector works best whenever Vincent and Pesci are on-screen.  Pesci’s performance is slightly toned down version of the hyped-up maniacs that he became best known for playing while Vincent shows that, even in his first film, he was already a master at playing slightly ridiculous tough guys.

The Death Collector can also be found under the title, Family Enforcer.  It’s been released on DVD by several companies, all of which claim that the film “stars” Joe Pesci.  My copy has a picture of Pesci that was lifted from 8 Heads In A Duffel Bag on the cover.

A Movie A Day #251: Cisco Pike (1972, directed by Bill L. Norton)


Yesterday, the great character actor Harry Dean Stanton passed away at the age of 91.   Cisco Pike is not one of Stanton’s best films but it is a film that highlight why Stanton was such a compelling actor and why his unique presence will be missed.

Cisco Pike (Kris Kristofferson) is a musician who has fallen on hard time.  After having been busted several times for dealing drugs, Cisco now just wants to spend time with his “old lady” (Karen Black) and plot his comeback as a musician.  However, a corrupt narcotics detective, Leo Holland (Gene Hackman), approaches Cisco with an offer that he cannot refuse.  Holland has come into possession of 100 kilos of marijuana.  He wants Cisco to sell it for him and then Leo plans to take the money and retire.  Cisco has the weekend to sell all of the weed.  If he doesn’t, Holland will arrest him for dealing and sent him back to prison,

About halfway through this loose and improvisational look at dealers, hippies, and squares in 1970s Los Angeles, Harry Dean Stanton shows up in the role of Jesse Dupree, an old friend and former bandmate of Cisco’s.  Jesse is a free-living wanderer, too old to be a hippie but too unconventional to be a member of the establishment.  Unfortunately, Jesse also has a nasty heroin habit.  Jesse Dupree is a prototypical Harry Dean Stanton role.  Like many of Stanton’s best roles, Jesse may be sad and full of regrets but he is not going to let that keep him from enjoying life.  Stanton may not appear in much of the film but he still takes over every scene in which he appears.

Stanton is, by far, the best thing about Cisco Pike.  As always, Gene Hackman is entertaining, playing the inverse of The French Connection‘s Popeye Doyle and Karen Black is her usual mix of sexy and weird.  The weakest part of the movie is Kris Kristofferson, who was still a few years away from becoming a good actor when he starred in Cisco Pike.  It is interesting to consider how different Cisco Pike would have been if Stanton and Kristofferson had switched roles.  Stanton may not have had Kristofferon’s movie star looks but, unlike Kristofferson, he feels real in everything that he does.  With his air of resignation and his non-Hollywood persona, Stanton brought authenticity to not only Cisco Pike but to every film in which he appeared.

Along with Stanton, several other familiar faces appear in Cisco Pike.  Keep an eye out for Roscoe Lee Browne, Howard Hesseman, Viva, Allan Arbus, and everyone’s favorite spaced-out hippie chick, the one and only Joy Bang.

A Movie A Day #250: Taking Care of Business (1990, directed by Arthur Hiller)


Jimmy Dworski (Jim Belushi) is a convicted car thief who only has a few days left in his criminal sentence but still decides to break out of prison so he can go see the Cubs play in the World Series.  Spencer Barnes (Charles Grodin) is an uptight ad executive who needs to learn how to relax and have a good time.  When Spencer loses his organizer, Jimmy finds it.  Before you can say “The prince and the pauper,” Jimmy has access to all of Spencer’s money and the mansion that Spencer is supposed to be staying at over the weekend.  While Spencer tries to survive on the streets and track down his organizer, Jimmy is living it up, spending money, impressing a Japanese businessman (Mako), romancing the boss’s daughter, and taking care of business.

Made in the uncertain period between the end of the culture of 80s materialism and the start of the 90s indie boom, Taking Care of Business is a rip-off of Trading Places that came out six years too late to be effective.  Everything that needs to be known about Jimmy and Spencer is apparentl from the minute that Charles Grodin’s and Jim Belushi’s names appear in the credits.  Grodin was usually the best when it came to playing uptight yuppies but he seems bored in Taking Care of Business.  Belushi mugs through his role, overplaying his character’s blue collar roots.  The movie builds up to a huge confrontation between Belushi and Grodin but it never really delivers, instead devolving into a predictable buddy comedy, complete with a trip to Wrigley Field and an elaborate plan to sneak Belushi back into prison before the warden (Hector Elizondo) discovers that he’s been gone for the weekend.  Taking Care of Business has a few laughs but it’s never as good as the BTO song.

A Movie A Day #249: Beatlemania (1981, directed by Joseph Manduke)


In this filmed version of a hit Broadway musical, four musicians who look like the Beatles from a distance play 3o Lennon/McCartney songs while newspapers headlines scroll over their heads and famous events and figures from the 60s appear on the screen behind them.  The camera sometimes follows the musicians backstage as they switch from dark suits to white Magical Mystery Tour tuxedos and later into the uniforms of Sgt. Pepper’s Lonely Hearts Club Band.  They also try on a variety of wigs and fake facial hair.

The main problem with Beatlemania is that the four musicians may be good but they are still not the Beatles and, regardless of how hard they try, they never really sound like the Beatles either.  At first, I was impressed by the fact that they did, at least, physically resemble the Beatles but then I realized that musician I thought was George was actually supposed to be John and that the musician who actually was supposed to be George looked more like Keith Richards.  Ringo, meanwhile, looked like Keith Moon.  On the other hand, the show’s Paul looked exactly like the real Paul but was so stiff and precise in his movement that it was like watching one of the robots from Disney’s Hall of Presidents.

I can understand why nostalgic baby boomers made the original stage show a hit but, ultimately, it is best just to stick with the originals.

A Movie A Day #248: Flinch (1994, directed by George Erschbamer)


Harry (Judd Nelson) is a law student who has failed the bar exam three times.  Daphne (Gina Gershon) is an aspiring actress who has an unfaithful boyfriend.  With neither of them making much headway in their chosen careers, they end up working as living mannequins in a department store display window.  If they flinch even the least little bit, they will lose their jobs.  At first, it does not seem that there is much of a romantic future for Harry and Daphne.  But when Daphne breaks up with her boyfriend, Harry invites her to join him in breaking into the store after hours and partying.  But while Harry and Daphne are celebrating, they witness a crazed artist (Nick Mancuso) strangling one of his models.

If the name of the director, George Erschbamer, seems familiar, you may be familiar with the Snake Eater films that he made with Lorenzo Lamas.  Fortunately, Flinch is far superior to Snake Eater III.  Starting out like a romantic comedy before turning into a thriller, Flinch is actually one of the better direct-to-video Judd Nelson films to come out in the 90s.  Of course, considering that the competition comes from Entangled and Conflict of Interest, Flinch doesn’t have that high of a bar to clear.  Though the thriller aspect is predictable, The first half of the movie, which is almost entirely Gershon and Nelson trying to talk to each other without anyone noticing their lips moving, is actually enjoyable.  Gina Gershon is as sexy as ever and she brings out the best in Judd Nelson, who is almost likable in this movie.

Still, there is one thing that could have improved Flinch.  Like almost any other Judd Nelson film, it really could have used a Burt Reynolds cameo.

Right, Burt?

A Movie A Day #247: Play Nice (1992, directed by Terri Treas)


Homicide Detective Jake “Mouth” Penucci (Ed O’Ross) is the most hated man on the police force.  His partners hate him.  His ex-wife hates him.  His daughter will hate him once she is old enough.  Penucci is obnoxious, tells terrible jokes, and is haunted by his abusive childhood.  The only person that does not hate Penucci is Jill (Robey), who works in the records office.  Jill and Penucci are soon an item but it turns out that Jill has some kinky tastes, which make even Penucci nervous.  She wants him to beat her during sex and sometimes ask him to pretend that she’s a little girl.  At the same time that Penucci is trying to figure out how to have a normal relationship with Jill, he has been assigned to catch Rapunzel, a female serial killer who only targets men who have been accused of sexually abusing their daughters.  Could it all be connected?

Play Nice is a standard 1990s Skinemax neo-noir, distinguished by a few surreal dream sequences and performances that are better than what’s typically found in films like this.  The mystery would be interesting except that there is only one possible suspect so it is not at all surprising when that suspect is eventually revealed to be Rapunzel.  For many Skinemax watchers, the film’s main appeal was probably the beautiful Robey appearing in several nude scenes but Play Nice is also memorable for giving character actor Ed O’Ross a rare starring role.  O’Ross has spent almost his entire movie career playing corrupt cops and psychotic gangster but he does a pretty good job as Penucci, even if Penucci is not a typical hero.  Every good character actor should get at least one chance to play a lead and O’Ross makes the most of it in Play Nice.

A Movie A Day #246: Bloodsport (1988, directed by Newt Arnold)


Bloodsport is one of Jean-Claude Van Damme’s earliest films and it is Damme good!

Forgive the terrible opening line but that is how they actually used to advertise Jean-Claude Van Damme films.  Everything was either Damme exciting or Damme amazing or Damme spectacular.  Though it was made by Cannon and had a much lower budget than the films Van Damme made during his 90s heyday, Bloodsport is still a Damme quintessential Van Damme movie.

Bloodsport claims that the story it tells is true.  Frank Dux (Van Damme) is a U.S. Army captain who goes AWOL so he can compete in Kumite, an illegal martial arts tournament that is held in Hong Kong.  Kumite is the only martial arts tournament where it is legal to kill your opponent.  Chong Li (Bolo Yeung) became champion by killing anyone who lasts more than a minute with him.  At first, no one believes that an American like Frank Dux has a chance of winning the Kumite.  What they do not know is that Frank was trained by the legendary Senzo Tanaka.  Frank is not just competing for personal glory.  He is also competing in honor of Tanaka’s dead son.

Bloodsport is both Van Damme and Cannon Films at their best.  Shot on location in Hong Kong, Bloodsport not only features Van Damme doing his thing but also gives him a memorable sidekick, Ray Jackson (Donald Gibb), who talks like a professional wrestler and gets all of the best lines.  When Ray and Frank first meet, they bond over a video game that appears to be an extremely early version of Street Fighter.  Also keep an eye out for Forest Whitaker (!), playing one of the CID officers who is assigned to track down Frank and arrest him for desertion.

Like any good Van Damme film, Bloodsport lives and dies on the strength of its fights and it does not skimp on the blood, the chokeholds, or the high kicks.  Bolo Yeung is a great opponent for Van Damme but everyone know better than to try to beat Jean-Claude Van Damme.  When it comes to fighting Van Damme, Duke put it best:

A Movie A Day #245: The Missouri Breaks (1976, directed by Arthur Penn)


After Tom Logan (Jack Nicholson) and his gang of rustlers (played by Randy Quaid, Frederic Forrest, and Harry Dean Stanton) rob a train, Logan uses the money to buy a small ranch.  Their new neighbor is Braxton (John McLiam), a haughty land baron who considers himself to be an ambassador of culture to the west but who is not above hanging rustlers and hiring gunmen.  One such gunman is the eccentric Robert E. Lee Clayton (Marlon Brando), a “regulator” who speaks in a possibly fake Irish brogue, is a master of disguise, and uses a variety of hand-made weapons.  Braxton hires Clayton to kill Logan and his men, despite the fact that his daughter (Kathleen Lloyd) has fallen in love with Logan.

A flop that was so notorious that it would be five years before Arthur Penn got a chance to direct another film, The Missouri Breaks is best remembered for Marlon Brando’s bizarre performance.  Brando reportedly showed up on the set late and insisted on largely improvising his part, which meant speaking in a comical Irish accent, singing an impromptu love song to his horse, and disguising himself as an old woman for one key scene.  (According to Patrick McGilligan’s Jack’s Life: A Biography of Jack Nicholson, co-star Harry Dean Stanton grew so incensed at Brando’s behavior that he actually tried to rip the dress off of Brando, saying that he simply would not be “killed’ by a man wearing a dress.)  Brando’s later reputation for being a disastrously weird performer largely started with the stories of his behavior on the set of The Missouri Breaks.

I had heard so many bad things about Brando and The Missouri Breaks that I was surprised when I finally watched it and discovered that it is actually a pretty good movie.  For all of his notoriety, Brando does not enter this leisurely paced and elegiac western until after half a hour.  The majority of the movie is just about Jack Nicholson and his gang, with Nicholson giving a low-key and surprisingly humorous performance that contrasts well with Brando’s more flamboyant work.  While Arthur Penn may not have been able to control Brando, he still deftly combines moments of comedy with moments of drama and he gets good performances from most of the supporting cast.  Quaid, Stanton, Forrest, and Nicholson are all just fun to watch and the rambling storyline provides plenty of time to get to know them.  Whenever Brando pushes the movie too close to self-parody, Nicholson pulls it back.   The Missouri Breaks may have been a flop when it was released but it has aged well.

A Movie A Day #244: Death of a Gunfighter (1969, directed by Allen Smithee)


At the turn of the 20th century, the mayor and the business community of Cottonwood Springs, Texas are determined to bring their small town into the modern era.  The Mayor (Larry Gates) has even purchased one of those newfangled automobiles that have been taking the country by storm.  However, the marshal of Cottonwood Spings, Frank Patch (Richard Widmark), is considered to be an embarrassing relic of the past.  Patch has served as marshal for 20 years but now, his old west style of justice is seen as being detrimental to the town’s development.  When Patch shoots a drunk in self-defense, the town leaders use it as an excuse to demand Patch’s resignation.  When Patch refuses to quit and points out that he knows all of the secrets of what everyone did before they became respectable, the business community responds by bringing in their own gunfighters to kill the old marshal.

Death of a Gunfighter is historically significant because it was the very first film to ever be credited to Allen Smithee.  The movie was actually started by TV director Robert Totten and, after Widmark demanded that Totten be fired, completed by the legendary Don Siegel.  Since Totten worked for 25 days on the film while Siegel was only on set for 9, Siegel refused to take credit for the film.  When Widmark protested against Totten receiving credit, the Director’s Guild of America compromised by allowing the film to be credited to the fictitious Allen Smithee.

In the years after the release of Death of a Gunfighter, the Allen (or, more often, Alan) Smithee name would be used for films on which the director felt that he had not been allowed to exercise creative control over the final product.  The Smithee credit became associated with bad films like The O.J. Simpson Story and Let’s Get Harry which makes it ironic that Death of a Gunfighter is not bad at all.  It’s an elegiac and intelligent film about the death of the old west and the coming of the modern era.  It also features not only one of Richard Widmark’s best performances but an interracial love story between the marshal and a brothel madame played by Lena Horne.  The supporting cast is full of familiar western actors, with Royal Dano, Harry Carey, Jr., Larry Gates, Dub Taylor, and Kent Smith all making an impression.  Even the great John Saxon has a small role.  Though it may be best known for its “director,” Death of a Gunfighter is a film that will be enjoyed by any good western fan.

A Movie A Day #243: The Joe Louis Story (1953, directed by Robert Gordon)


Joe Louis, also known as the Brown Bomber, is generally agreed to have been one of the greatest heavyweight boxers of all time.  Despite the barriers put up by both poverty and racism, Louis held the world heavyweight championship from 1937 to 1949 and successfully defended his title in 26 fights (ranking him second to only Julio Cesar Chavez, who had 27 title defenses).  In 1938, he defeated German Max Schmelling, disproving Nazi claims that a black man could not defeat an Aryan and making Louis, along with Jesse Owens, one of the first African-American athletes to achieve nationwide hero status in America.

The Joe Louis Story, which was made and released shortly after Louis lost his final fight to Rocky Marciano and announced his retirement from boxing, tells an effective but sanitized version of Louis’s life story.  Made on an obviously low budget, The Joe Louis Story hits all the highlights — Joe’s relationship with trainer Jack Blackburn (James Edwards), Joe’s marriage to Marva Trotter (Hilda Simms), Joe’s two fights against Max Schmelling, and Joe’s time in the army — while ignoring most of the lowlights.  No mention is made of Joe’s financial troubles, Joe’s initial struggle to even get a match against the white heavyweights of the day, or the infidelity that led to Joe and Marva’s divorce.  The Joe Louis Story does briefly touch on racism when Joe is told that, as a black man, he already has a strike against him as far as the boxing establishment is concerned.

The best thing about The Joe Louis Story is that it features footage from Louis’s actual fights. Coley Wallace, the boxer who was hired to play the title role, bore a remarkable resemblance to Joe and the footage of the real Joe Louis boxing is easily mixed in with scene of Wallace as Joe.  Wallace was not much of an actor but, as a real-life boxer, he still brought enough authenticity to the role that his casting works.

One final note: In real life, Joe Louis ended his career after a brutal loss to Rocky Marciano.  Before turning pro, Marciano lost four fights as an amueter.  One of those losses came in 1948 when Marciano was defeated in the final round of the New York Golden Gloves tournament.  The fighter who defeated Rocky Marciano?  Coley Wallace.