Cleaning Out The DVR Yet Again #15: Quintet (dir by Robert Altman)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by Wednesday, November 30th!  Will she make it?  Keep checking the site to find out!)

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The 1979 post-apocalyptic film Quintet aired on FXM on November 15th.  I recorded it because this film is often cited as being one of director Robert Altman’s worst but I’ve also read some very passionate defenses of Quintet.  Since I’ve enjoyed several of Altman’s films (Nashville, Gosford Park, Short Cuts, The Company, The Player, The Long Goodbye, and many more), I wanted to experience Quintet for myself.

I mean, seriously — a postapocalyptic sci-fi film from Robert Altman!?  That would have to be at least interesting, right?

Anyway, I watched Quintet and to be honest, I wasn’t really sure what the Hell was going on for most of the film.  Things made a bit more sense after I did a little bit of research and I discovered that Quintet was 1) inspired by a fragment of a dream that Altman had and 2) went into production despite not having a completed script.

Quintet opens with a breath-taking shot of a frozen landscape.  There’s been a new ice age.  The entire Earth is frozen.  There’s only a few hundred humans left and their number is rapidly dwindling.  Some, like Essex (Paul Newman) and Vivia (Brigitte Fossey) spend their days hiking across the tundra and hunting seals.  Others — like practically everyone else in the entire freaking film — spend their times in ramshackle villages, pursuing what little pleasure they can find while waiting to die.

In this new frozen world, the most popular activity — outside of getting drunk — is playing a board game called Quintet.  I have no idea how Quintet is played, though the film is full of scenes of people playing it.  From what we do see, it really doesn’t look like that fun of a game but I guess you can’t be picky when you’re waiting to freeze to death.  I mean, honestly, if the world’s ending, I’d rather play a board game than charades.

Anyway, in one of the frozen towns, a group of people are having a Quintet tournament, with the rule being that, once you’re eliminated in the board game, you are also killed in real life.  (And again, this is where it would have been helpful for the film to take just a few minutes to clarify just how exactly Quintet is played.)  One of the Quintet players is killed by a bomb, which unfortunately blows up Viva as well.  Seeking revenge (or, at least, I’m guessing that was his motivation because Paul Newman didn’t exactly give the most communicative performance of his career in Quintet), Essex assumes a fake identity and enters the tournament.

Soon, he’s running around the frozen landscape, killing people.  He knows that the final player standing will receive a prize of some sort but he doesn’t know what the prize is.  How deep!  Or something.

Dammit, I really wanted to defend Quintet.  I really did.  Whenever I see a movie that has gotten almost universally negative reviews, my natural instinct is to try to find something good about it.  And I will say this: visually, Quintet is fascinating.  A lot of care was put into creating this frozen world and it’s interesting to note how every location is decorated by elaborate ice sculptors.  The ice may be destroying civilization but it can’t squelch humanity’s natural creativity.

Unfortunately, Quintet  may be well-designed but it’s also a painfully slow film.  Just because the film takes place on a glacier, that doesn’t mean that it needs to move like one.  The slow pace is not helped by the fact that many of the characters have a tendency to suddenly start delivering these faux profound philosophical monologues, the majority of which are about as deep as the typical Tumblr post.

Quintet stars Paul Newman, who was both an iconic movie star and a legitimately great actor.  He spends most of Quintet alternating between looking confused and looking stoic.  That said, it’s always interesting to watch an actor like Paul Newman slog his way through an artistic misfire like WUSA or Quintet.  Let’s give Paul Newman some credit: he delivered his lines with a straight face. Just as Essex knew he was trapped on a glacier, Paul Newman understood that was trapped in Quintet.  Both did what they had to do to survive.

Robert Altman was a great director but Quintet is not a great film.

It happens.

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Cleaning Out The DVR Yet Again #14: Maggie’s Passage (dir by Mike Norris)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by Wednesday, November 30th!  Will she make it?  Keep checking the site to find out!)

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Maggie’s Passage is a film that I recorded off of Channel 58 on November 13th.  Though I didn’t realize it at the time, Channel 58 specializes in showing faith-based programming.  (Channel 58 previously aired both Island of Grace and The Encounter.  Right now, they appear to be in the middle of doing a Left Behind marathon.  If you’re reading this, Kirk Cameron, the check is presumably in the mail.)

The main reason that I recorded Maggie’s Passage is because it was filmed down here in Dallas.  As opposed to my friends who live in New York, Los Angeles, and Toronto, it’s rare that I actually get to see my hometown onscreen.  I mean, sure, countless episodes of Cheaters have been filmed in Dallas but, for the most part, most movies about Dallas are actually filmed in Louisiana.  Even Dallas Buyers Club was actually shot in New Orleans!

(Incidentally, New Orleans looks nothing like Dallas.)

Originally released in 2009, Maggie’s Passage was directed by Mike Norris.  Mike is the son of Chuck Norris.  This led me to suspect that Chuck would make a cameo appearance at some point, perhaps standing outside of Club Dada or taking a selfie in front of the Big Red Courthouse.  But no, Chuck never shows up.  Instead, Maggie’s Passage is about a teenage girl named Maggie (Ali Faulkner).  When she was little, Maggie was adopted by Jenny (Janine Turner) and her husband.  After her stepfather dies, Maggie runs away from home and tracks down her birth mother.  After discovering that her birth mother wants nothing to do with her, Maggie ends up working on Harry Hines Blvd. for an abusive pimp.  When she finally escapes, Maggie is taken in by Grace (Sheran Goodspeed Keyton) and a group of extremely religious homeless people.  In almost any other film (like in Split Image, which was also filmed in Dallas), this would lead to Maggie becoming a part of a cult but, since this film was airing on Channel 58, it instead leads to a lot of talk about lost faith, redemption, and prayer.

I had mixed feelings about Maggie’s Passage.  There were certain scenes, especially at the start of the film, that brought back some definite memories of being a rebellious, scared, and out-of-control 16 year-old. When Maggie was wandering down the street with the Dallas skyline behind her, I definitely cringed a little because I not only knew the location but I knew the feeling as well.  In those early scenes, I sat there and I thought about how, if not for a few strokes of luck, I could have easily been Maggie.  Ali Faulkner is definitely a better actress than you typically expect to find in a low-budget faith-based film and Mike Norris knows how to tell a story cinematically.  Even though I knew it was a religious film, the first half of Maggie’s Passage never felt preachy…

Add to that, there was a scene where Maggie was walking along this bridge! This photo, by the way, was taken by our own Dazzling Erin Nicole!

Add to that, there was a scene where Maggie was walking along this bridge! This photo, by the way, was taken by our own Dazzling Erin Nicole!

But then Maggie met those homeless people and the whole movie went downhill.  Movies always tend to idealize the homeless and their living conditions (which, incidentally, does a great disservice to those who actually are homeless and who are too busy trying not to die to spend all of their time sharing their faith-based wisdom with every runaway white teenager who they happen to come across) and Maggie’s Passage took this tendency to the extreme.  Whenever I saw those good-hearted, enlightened, cheerful, and rather clean-cut homeless people talking to Maggie about what St. Paul wrote in his letter to the Romans, I found myself thinking about the guy who I always see defecating in front of the Frank Crowley Courthouse.  Or maybe the old woman who used to always approach me at Mockingbird Station, rambling about how the Vatican put a tracking device in her forehead.  Or maybe the guy who I saw camped out behind a Wal-Mart in Oak Cliff, struggling to sit up straight and surrounded by empty beer bottles.  These are people who really need our help and movies that sentimentalize their existence or portray them as being magical caregivers don’t do them any good.  In the end, Maggie may find God but the homeless are still living on the streets and the film doesn’t seem to see that as being a problem.

That said, I still appreciated seeing Reunion Tower on film.

Reunion Tower (picture by Erin Nicole)

Reunion Tower (picture by Erin Nicole)

Cleaning Out The DVR Yet Again #13: Honeymoon From Hell (dir by Jake Helgren)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by Wednesday, November 30th!  Will she make it?  Keep checking the site to find out!)

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Now that Thanksgiving has passed and that I’m back home, it’s time for me to get back to cleaning out the DVR.  As a result of my own arbitrary time limit, I have 4 days to watch and review 40 films.  Will I make it!?  Well, we’re about to find out.

Earlier today, I finally got around to watching Honeymoon From Hell!  Honeymoon from Hell originally aired on the Lifetime Movie Network on July 16th!  I can’t remember exactly why I missed it.  Maybe I was watching a killer shark movie.  But anyway, I just watched it and I’m glad that I did!

Honeymoon From Hell was originally entitled The Legend of Alice Flagg.  Who, you might be asking, is Alice Flagg?  In 1849, Alice Flagg was a young woman living in South Carolina.  Alice’s wealthy family was aghast when she fell in love with a common lumberman.  Alice, however, refused to end their relationship.  When the lumberman gave her an engagement ring, Alice knew she couldn’t wear it on her finger so, instead, she attached it to a ribbon and wore it around her neck.  After briefly trying to run away from her controlling family, Alice was taken ill and died.  Her father refused to allow her to be buried with her wedding ring and, as a result, it’s said that the ghost of Alice still haunts South Carolina.  She comes out at night and searches for her wedding ring.

Honeymoon From Hell opens with newlyweds Julia (Lexi Giovagnoli) and Rivers (Adam Hagenbach) listening as a tour guide tells the story of Alice Flagg.  Julia immediately relates to the story.  She also comes from a wealthy family and she has also upset her father by marrying someone from “outside of her class.”  Rivers, on the other hand, is dismissive of the story.  When the tour guide mentions that Alice’s spirit can be summoned by running in a circle around her grave, Rivers proceeds to do just that.

Bad Rivers!

However, at the moment, Rivers and Julia are more concerned with the hurricane that is projected to be heading towards South Carolina.  They get a room in a bed and breakfast that’s run by a seemingly friendly but somewhat odd woman named Hazel (Catherine Hicks).

Julia, who has yet to tell Rivers that she’s pregnant, soon starts to feel that something bad is about to happen.  She’s having strange dreams and, occasionally, she thinks that she sees a mysterious young woman watching her.  (And yet, the woman is always gone upon a second look.)  When Julia sees her husband talking to the flirtatious Janelle Gamble (Cameron Richardson), she starts to get paranoid.  The nightmares get worse.  And then, of course, someone tries to stuff a pillow over her face…

Meanwhile, the storm is approaching…

And Julia has lost her wedding ring…

Honeymoon From Hell was full of atmosphere and creepy melodrama.  Lexi Giovagnoli and Adam Hagenbach make for a likable couple while Cameron Richardson gets all the best lines as Janelle.  Catherine Hicks is wonderfully eccentric as the odd Hazel.  Lifetime’s track record with the horror genre may be uneven but Honeymoon From Hell was a lot of fun.

Film Review: Dirty Grandpa (dir by Don Mazer)


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Epix is doing a free preview this weekend so, earlier tonight, I watched Robert De Niro and Zac Efron in Dirty Grandpa.  You may remember Dirty Grandpa as being the film that came out in January and made a ton of movie despite the fact nobody will admit to having seen it.

Myself, I hope that the cast of Dirty Grandpa was paid in cocaine because then, at the very least, I could be assured that they had a better time making the movie than anyone else has had watching it.  The plot, as it is, features De Niro as a widower who is obsessed with getting laid and Efron as his straigher-than-straight grandson who takes him down to Daytona for Spring Break.  Efron is engaged to Meredith (Julianne Hough) who we’re supposed to dislike because of …. reasons, I guess.  The film certainly hates her, even though all she’s trying to do is plan a nice wedding.  De Niro would rather Efron get together with a boring political activist (Zooey Deutch).  Meanwhile, De Niro himself is obsessed with Deutch’s friend, played by Aubrey Plaza.

Anyway, this is one of those films that’s even worse than it sounds.  The pacing is so off that even the scenes that should work fall flat and visually, the film resembles a high quality YouTube video.  The majority of the humor is racist, misogynistic, and homophobic (but, of course, we’re not supposed to notice because the “good” girl is vaguely defined as being a liberal political activist).  Zac Efron, who is really only a credible actor when he’s playing dumb (read into that whatever you want), is miscast as someone who actually has something that’s going on in his life and Aubrey Plaza, one of the most unique comedic performers working today, is almost totally wasted.  Both Zooey Deutch and Julianne Hough struggle within the confines of a script that obsessively hates women.

(By the way, would you believe that the script for this movie was included on the Black List, the annual list of the “best” unproduced scripts in Hollywood?  I would.  Being included on the Black List is perhaps the most overrated honor that Hollywood can provide, seeing as how most Black List films end up sucking.)

As for Robert De Niro, his performance actually isn’t that bad.  But that doesn’t change the fact that he’s Robert freaking De Niro playing a role that could have just as easily been performed by Johnny Knoxville in old age makeup.

Anyway, I watched Dirty Grandpa because I wanted to see if it was as bad as everyone said it was and it was.

Go to Hell, Dirty Grandpa.

Film Review: Allied (dir by Robert Zemeckis)


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Earlier today, after deciding to take a break from watching the Lifetime films that have been steadily accumulating on my DVR, I went down to the Alamo Drafthouse with my BFF Evelyn and we watched the new World War II romantic adventure film, Allied.

Now, you should understand that I’m an Alamo Victory member and one of the benefits of my membership is that I get a free movie for my birthday!  (My birthday was on November 9th.  The offer’s good for up to a month after the big day.  Pretty nice, no?)  I have to admit that there’s a reason why I wanted to see Allied for free.  I knew that, since this big movie with big stars and a big director was being released at the start of Oscar season, I would have to see it eventually.  Add to that, Allied is current somewhat infamous for being the movie that contributed to the divorce of Brad Pitt and Angelina Jolie.  Apparently, Brad had an affair with Marion Cotillard while making this movie.  I knew I had to see Allied but I didn’t want to pay for it because, quite frankly, I wasn’t expecting it to be very good.

I mean, the trailer looked awful!  The trailer was a collection of war film clichés and, as happy as I was to see Brad without that raggedyass beard that he tends to have whenever he’s trying to be a serious actor, it was still hard to ignore that he essentially looked like a wax figure.  Then you had Marion Cotillard, looking as if she’d rather be playing Lady MacBeth.  Judging from the trailer, Allied just didn’t look very good.

Having now seen Allied, I can say that the trailer does the film a great disservice.  Not only is Allied far more entertaining than the trailer suggests but the trailer also gives away the film’s big twist!  Seriously, this twist occurs about 75 minutes into a 120 minute film and, if it was sprung on you without warning, it would totally blow you away.  It would leave you reeling and reconsidering everything that you had previously seen.  But since the twist is highlighted in the trailer, you instead spend the first half of the movie impatiently waiting for it.

You probably already know the twist.  But I’m still not going to reveal it because maybe there’s one or two of you out there who have managed to avoid the trailer.  Instead, I’ll tell you that Allied is a World War II romance.  It opens in Casablanca, with Canadian secret agent Max Batan (Brad Pitt) working with Marianne Beausojour (Marion Cotillard).  Marianne is a legendary member of the French Resistance.  It doesn’t take long for Max and Marianne to fall in love and soon, they’re having sex in the middle of the desert, making love in a car while a sandstorm rages all around them.  Max eventually marries Marianne and they have a daughter.  But around them, the war continues and both of them find themselves struggling to determine who they can and cannot trust.

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As directed by Robert Zemeckis, Allied is a big movie, one that is frequently entertaining and yet occasionally and frustratingly uneven.  Allied feels like its less about recreating history and more about paying homage to the World War II and espionage films that Zemeckis watched when he was growing up.  It’s a technical marvel, featuring not only sandstorm sex but crashing airplanes and a painstaking recreation of Europe in the 1940s.   The film is full of seemingly random details, many of which don’t add much to the narrative but they do contribute to Allied‘s oddly dreamlike feel.  This is the type of film where espionage is discreetly discussed at a party while Gershwin plays on the soundtrack and British airmen casually snort cocaine in the background.  When Marianne gives birth to Anna, she does it outside while bombs explode around her.  When the baby is finally delivered, a group of nurses applaud.  It’s all wonderfully over the top but, occasionally, the narrative lags.  Zemeckis sometimes seems to be torn as to whether or not he’s paying homage to or deconstructing the genre.  As a result, some scenes work better than others.  (There’s a lengthy sequence involving a note containing false information.  It’s obvious that Zemeckis is trying to pay homage to Hitchcock’s Notorious but he never quite manages to pull it off.)

Despite what I previously assumed as a result of seeing the trailer, both Brad Pitt and Marion Cotillard are well-cast.  Cotillard is one of the few actresses who feels at home in a throwback film like this one and she does a good job keeping the audience guessing.  (Of course, if we accept that Allied is essentially Zemeckis’s cinematic dream of World War II, Cotillard serves to remind us of Inception and its multiple layers of dream logic.)  Brad Pitt, meanwhile, should consider playing more roles without his beard.  After watching Daniel Craig sulk through four James Bond films, it’s nice to be reminded that, occasionally, an actor can actually have fun while playing a secret agent.

Allied is uneven but entertaining.  Don’t let the trailer fool you.

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Cleaning Out The DVR Yet Again #12: Day of Reckoning (dir by Joel Novoa)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by Wednesday, November 30th!  Will she make it?  Keep checking the site to find out!)

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The next film that I watched off of the DVR was Day of Reckoning, a film that premiered on the SyFy network on October 8th.

Day of Reckoning was one of the handful of films that premiered as a part of SyFy’s 31 Days of Halloween.  There was a time when the SyFy network used to air a new film every week.  That was a golden age for those of us who enjoy live tweeting and snarking online.  Unfortunately, it would appear that the network made a change in their business model and SyFy drastically cut back on the number of original films that they produced and/or bought each year.  Now, if you want to see an original film premiere on SyFy, you either have to wait for Shark Week or October.  It’s unfortunate but that’s the way things are.

This year, it seemed as if almost all of SyFy’s October premieres were essentially remakes of It Follows.  Day of Reckoning is unique because it went the opposite route.  In no way is this film a rip-off of It Follows.

Instead, it’s more of a rip-off of The Purge: Anarchy.

16 years ago, during an eclipse, Earth was attacked by a pack of dogs from Hell.  That’s not just me being overdramatic.  Fissures literally formed in the ground and these dogs sprang out from the depths of Hell.  For 24 hours, the hellhounds terrorized and killed.  And then, much like a wealthy, mask-wearing murderer at the end of the annual Purge, they just vanished.  Naturally, the survivors built barriers over the fissures and hoped that the dogs would never return.  But now, another eclipse is approaching and some people are terrified that it’s going to happen again.

And you know what?

Those people are right.

Day of Reckoning follows one family and their effort to get to safety during the canine apocalypse.  The father (Jackson Hurst) is still feeling guilty for not being home when the dogs first showed up.  He’s determined not to fail his family for a second time.  His wife (Heather McComb), meanwhile, just wants a divorce and his teenage son (Jay Jay Warren) just wants to hang out with his girlfriend.

Fortunately, a crazy uncle is coming to the rescue!  Crazy Uncle Ted (Raymond J. Barry) has built an underground bunker and he’s invited the family to come join him and his wife (Barbara Crampton).  However, the family first has to reach the shelter and that’s going to mean dealing with not only dogs but a lot of stupid people as well.  You know how that goes.  Can the family survive 24 hours of hellhound purging?

Crazy Uncles have been getting blamed for a lot lately.  As of right now, you can go to about a hundred different sites and find all sorts of guides for how to talk to your crazy uncle during Thanksgiving.  Apparently, the solution is to repeat tired soundbites.  Personally, I would think a better solution would be not to worry about it and just enjoy your holiday but what the Hell do I know?  With the character of Ted, Day of Reckoning pays tribute to the occasional wisdom of the crazy uncle and therefore, it’s essential Thanksgiving viewing.

Beyond that, Day of Reckoning is pretty much a typical SyFy film.  It’s a bit more serious than most but, ultimately, it follows the same pattern.  A group of characters have to get from one location to another without getting killed by a paranormal threat.  It won’t take you by surprise but Raymond J. Barry and Barbara Crampton are both well-cast and, if you’re a fan of SyFy movies, you’ll probably enjoy Day of Reckoning.

Happy Birthday Boris Karloff: John Ford’s THE LOST PATROL (RKO 1934)


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King of Classic Horror Boris Karloff was born on this date in 1887. The actor is beloved by fans for his work in genre flicks like FRANKENSTEIN, THE MUMMY , THE BLACK CAT, THE BODY SNATCHER , and many other screen tales of terror. But Karloff had always prided himself on being a working actor, and stepped outside the genre bounds many times. He excelled in some early gangster classics (THE CRIMINAL CODE, SCARFACE), played George Arliss’ nemesis in HOUSE OF ROTHSCHILD, was a Chinese warlord in WEST OF SHANGHAI, an Oriental sleuth in Monogram’s MR. WONG series, the psychiatrist in THE SECRET LIFE OF WALTER MITTY, and a scientist in THE VENETIAN AFFAIR . And then there’s John Ford’s THE LOST PATROL.

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The film itself tells the story of a British troop traveling through the Mesopotamian desert circa 1917. When their leader is shot dead by an unseen Arab bullet, the stoic Sergeant…

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Cleaning Out the DVR Yet Again #11: 400 Days (dir by Matt Osterman)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by Wednesday, November 30th!  Will she make it?  Keep checking the site to find out!)

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I recorded 400 Days off of the SyFy channel on November 6th.  Apparently, it got a very brief theatrical run earlier in the year.  Yeah, I don’t remember it either…

400 Days stars Dane Cook as an astronaut!?  Oh my God, that sounds like a formula for intergalactic, kinda-edgy-but-not-really wackiness!  Oh, and this film features Dane and three other astronauts locked in a simulator for 400 Days!?  Wow, I bet Dane will be driving them crazy with all sorts of wacky frat boy antics!

Well, no, not quite.  400 Days is actually an extremely serious film, one that doesn’t seem to have much use for what the rest of us would call humor.  In anticipation of future exploration of space, NASA arranges for four astronauts to be put into an underground bunker for 400 days.  The idea is that they’ll be able to study the effects of complete isolation and confinement but, naturally, things soon start to get weird.

For instance, Dvorack (that would be Dane Cook’s role) is this alpha male who is kind of a jerk and he’s always throwing his weight around and giving orders and looking down on his more scientifically inclined colleagues.  At one point, Dvorack stares at himself in a mirror and imagines his face falling apart.  AGCK!

And then there’s Bug (Ben Feldman), who is an emotionally unstable scientist who is still struggling to deal with being separated from his son.  (His son may be dead.  There’s a scene in a hospital but I’m not sure if it was a flashback or a hallucination or what.)  Bug is soon locking himself away in his room and drawing a maze on the wall.  Maybe he’s mad because everyone keeps calling him Bug.  It’s not a flattering nickname.

And then there’s Captain Cooper (Brandon Routh) and Dr. McTier (Caity Lotz).  Cooper and McTier used to go out but then they broke up two weeks before the start of the experiment.  Wow, that sounds like a formula for awkward relationship comedy!  Just wait until Dane Cook starts flirting with McTier and snarkily challenging Cooper’s authority…

Oh wait — sorry.  This is a serious movie.   A very serious movie.

https://twitter.com/ItsMeKarenMarie/status/795099528160575488

Anyway, after about two weeks in the bunker, the four astronauts hear a loud explosion above them.  Has something happened on the outside!?  Or is it just a part of the experiment?

And then, 300+ days later, an emaciated man emerges from an air vent!  Finally convinced that something has happened on the outside, the four astronauts leave the bunker and discover that the Earth is a now a dark and windy place that is covered with dust.  There’s a dilapidated town nearby.  It’s apparently run by a mysterious man named Zell (Tom Cavanagh as the most unlikely war lord since Hugh Grant showed up in Cloud Atlas).

But again — is this real or is this just a part of the experiment?

It’s an intriguing question but I’m going to warn you not to expect an answer.  While I don’t want to spoil the film for anyone, I do feel like I have an obligation to let you know that this film ends on a note of very deliberate ambiguity.  It’s the exact type of ending that tends to get on people’s nerves.  As I watched 400 Days off of my DVR, I did a twitter search to find out what some of my friends thought about this film when it originally aired.

https://twitter.com/ggfletcher/status/795099413098229761

With all that in mind, I will now cautiously admit that I didn’t hate 400 Days.  While I thought the execution left a lot to be desired, I kind of liked the idea behind the film.  The problem with the film’s ending was not that it was ambiguous as much as it hadn’t really earned the right to be ambiguous.  If you’re going to go with an open ending, you have to provide enough clues and details that the audience can still have an opinion about what actually happened after the end credits rolled.  As oppose to something like Inception or Upstream Color, 400 Days didn’t really didn’t build up to its enigmatic conclusion.  Unearned ambiguity just feels like narrative laziness.

That said, I liked the design of the bunker and, as I said before, I liked the idea of watching these four characters trying to figure out what’s real and what’s a hallucination.  Dane Cook did okay with his role, though ultimately he was still just Dane Cook trying to be serious.  However, Brandon Routh and Caity Lotz did well, despite both being saddled with rather underdeveloped roles.

400 Days wasn’t that terrible…

Outside the (Hat) Box: PHANTOM LADY (Universal 1944)


gary loggins's avatarcracked rear viewer

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Interested in a Hitchcockian 40’s thriller full of suspense and noir style? Then PHANTOM LADY is the film for you, a small gem based on a Cornell Woolrich novel and  directed by the talented Robert Siodmak. I wouldn’t go so far as to call this film noir like many do, but it certainly contains many of the stylistic elements of the genre in its gripping murder mystery story. Pretty damn close, though!

The Hitchcock influence clearly comes from Joan Harrison , former secretary and screenwriter for The Master of Suspense, who became one of only three female producers working during Hollywood’s Golden Age. There’s Hitchcock’s famed McGuffin to be found in the form of a “crazy hat” worn by the mysterious woman of the title that’s crucial to the film’s plot. Add the tension ratcheted up by screenwriter Bernard Schoenfeld and you’ve got a Hitchcock movie without Hitchcock.

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The noir elements…

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Cleaning Out The DVR Yet Again #10: The World’s Greatest Sinner (dir by Timothy Carey)


(Lisa recently discovered that she only has about 8 hours of space left on her DVR!  It turns out that she’s been recording movies from July and she just hasn’t gotten around to watching and reviewing them yet.  So, once again, Lisa is cleaning out her DVR!  She is going to try to watch and review 52 movies by Wednesday, November 30th!  Will she make it?  Keep checking the site to find out!)

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As I continued to clean out my DVR, I decided to take a break from watching Lifetime films and, instead, I watched a movie that I recorded off of TCM on October 30th.

Filmed in 1962 but apparently never given an official theatrical release, The World’s Greatest Sinner is a genuine oddity and one that everyone should see at least once.  The infamously eccentric character actor Timothy Carey wrote, directed, and starred as Clarence Hilliard, a small-town insurance salesman who, one day, decides to quit his job and … well, your guess is as good as mine as to what he’s doing or why he’s doing it.  Here’s what I can tell you for sure: after stumbling across a concert and seeing how excited everyone is over rock and roll music, Clarence decides to become a street preacher.  While standing on bags of fertilizer, Clarence preaches that everyone is God and that everyone can live forever.

At first, Clarence faces persecution for his beliefs but soon, he has a loyal cult following.  He funds his new church by seducing elderly widows and he even becomes a rock star himself.  At first, he’s held back by his lack of facial hair but then he starts to wear a fake goatee.  He even changes his name to God Hilliard and, while he may have alienated his family, he is now loved by young people everywhere.  In fact, in a remarkably icky scene, we find out that the 40-something God now has a 14 year-old girlfriend.

God Hilliard is so popular that he’s approached by a shadowy figure who suggests that maybe he should run for President.  As the candidate for the Eternal Man Party, God gives ranting speeches that are listening to by his rabid fans, the majority of whom are now wearing arm bands with the letter “F” on them.  (F for Faust, perhaps?  Or F for Fake, as Orson Welles might argue.)  At first, the press ignores God but God runs as an outsider, giving speeches in which he promises to do away with the establishment and return the government to the people and … well, let’s just say that this film, which was obviously designed to be an over the top satire, now feels more than a little prophetic.

It looks like God Hilliard is about to become the most powerful man in the free world but the other God — the one who is vengeful and jealous and capable of throwing lightning bolts and all that — might have other plans….

(Incidentally, this entire story is told in 77 minutes, which should give you some clue of just how frantically paced The World’s Greatest Sinner is.)

Oh my God (not, not you Clarence), this is a weird film.  It’s shocking today so I can only imagine how it must have looked to audiences in 1962.  (Or, I should say, how it would have looked if it had actually been given a theatrical release.)  Admittedly, The World’s Greatest Sinner is a ragged film, full of haphazard editing and occasionally inconsistent sound.  Made for just $90,000, its low budget is obvious in almost every scene.  And yet, all of this works to the film’s advantage.  The World’s Greater Sinner literally feels like a cinematic dream, with its inconsistencies contributing to its otherworldly feel.  This is one of those films that you need to see at least once because you’ll probably never see another one like it.

The entire film is a Timothy Carey production.  He wrote, produced, directed, and starred, creating an indie film at a time when being independent was something more than just a trendy buzzword. If you’re into classic films — and particularly if you’re a fan of Stanley Kubrick’s early work — you might recognize Carey.  He was one of those legendary character actors who was always called upon whenever a movie needed a memorable crazy or an intimidating henchman.  From what I’ve read, Carey was reportedly as eccentric as the characters that he played.  His performance in The World’s Great Sinner swings back and forth between being histrionic and being surprisingly subtle, often in the same scene.  The same can be said of his direction.  For every uneven or poorly lit scene, there’s another that’s artfully composed and full of surprising detail.

The World’s Greatest Sinner is simply something that has to be seen to believed.

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