Film Review: White Water Summer (dir by Jeff Bleckner)


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White Water Summer is a weird movie that was made in either 1985 or 1987 (more on that in a minute.)  It stars a youngish Kevin Bacon and a very young Sean Astin.  It starts out as a comedy and then it turns into a tribute to male bonding bullshit and then it’s a comedy again and then it’s a thriller and then it’s back to the male bonding as Kevin and Sean go camping together and then it’s a thriller and then Sean Astin has to cross a rickety bridge and the whole movie turns into Lord of the Rings.  And then Kevin Bacon starts singing and you’re like, “Oh my God, this is a musical too!”  And then suddenly, Kevin Bacon starts acting all crazy-like and it’s a thriller again.  But then Kevin breaks his leg and it’s up to Sean Astin to save his life, despite the fact that Kevin appeared to be attempting to kill all the campers just a few minutes earlier.  So, I guess that would count as more male bonding BS.

(One great thing about being a girl is that I’ve never had to prove myself by going camping.  Or, for that matter, killing a wild boar while armed only with a sharpened stick.  Seriously, I imagine that would be difficult and messy!  BLEH!)

Another reason why White Water Summer is a weird movie is because it’s on TV like every other week.  According to what I’ve read online, White Water Summer was not even released into theaters.  (Even stranger, I have yet to find a single interview where Kevin Bacon even acknowledges that this film exists and that’s saying something when you consider that Kevin has never been shy about mentioning how many bad films he’s appeared in.  Kevin regularly talks about Quicksilver, for fug’s sake!)  And yet somehow, this film that nobody appears to have wanted has achieved an odd sort of basic cable immortality.

And that immortality is why I’m taking the time to review this movie.  Because, seriously, White Water Summer seems to show up on TV even more than The Shawshank Redemption or reruns of Cops!  That’s a lot!

Anyway, as for the film itself, it’s basically a celebration of male bonding bullshit.  Alan (Sean Astin) is a sheltered kid from New York.  He’s into astronomy and plays chess.  To toughen him up, his parents arrange for Alan to go on a camping trip with Vic (Kevin Bacon), this ultra intense guide who talks in zen riddles and occasionally dangles people over the edge of a mountain.  Alan doesn’t want to go and, at first, he struggles to get along with the other three boys on the hike.

However, soon all of the boys have a common bond.  They all fear (and yet, because this is male bonding bullshit, strangely respect) Vic, who apparently is a bit of authoritarian.  Vic is determined to make them into men and his techniques including forcing them to cross a rickety bridge, forcing them to fish by hand, forcing them to carry a canoe across a hill, and finally abandoning them for a night in the middle of the wilderness.  At one point, when Alan ends up falling off a mountain and finds himself dangling in mid-air at the end of a rope.  Vic refuses to help him.  Instead, Alan must find his own way to get back on the mountain. Alan manages to do just that but seriously, what the Hell is Vic thinking?  At times, the movie suggests that Vic is a sociopath and then, at other times, it suggests that his methods are actually working.  After all, by the end of the summer, Alan is a lot more confident and he also knows how catch fish.

And really, that’s what makes this movie so strange.  It has no idea who Vic is supposed to be and, as a result, the film doesn’t know if it’s a comedy, a thriller, or a coming-of-age adventure movie.  Towards the end of the movie, Vic finally goes too far and gets smacked in the face with an oar.  This leads to Vic breaking his leg and suddenly, it’s up to Alan to save Vic’s life.  In order to do so, Alan has to call on a combination of his own intelligence and the survival skills that he learned from Vic.  So, that would seem to suggest that the movie is partially pro-Vic but, if that’s the case, why was Vic also portrayed as being somewhat psychotic?  Is this film pro-psychopath or is it just anti-Alan?  It’s hard to tell.

Making things even stranger is Alan’s narration.  In between scenes of camping, hiking, and attacking, we get these weird little vignettes of a slightly older Sean Astin speaking directly to the audience.  (According to the imdb, the camping scenes were filmed in 1985 while Astin’s narration was filmed in 1987.)  Narrator Alan is snarky and sarcastic, which would suggest that he doesn’t feel that he learned anything of value from the whole experience.  So does older Alan regret saving Vic’s life?  Does he still resent the fact that his parents forced him to go on the hike?  Or is he just trying to impress us with attitude?  Again, it’s hard to tell exactly what the film was trying to accomplish.

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Watching White Water Summer, it’s obvious that, in 1985, there were difficulties that probably left the film incomplete.  Astin’s 1987 narration was obviously tacked on in a desperate attempt to try to save the movie.  To be perfectly honest, it’s fascinating to witness how haphazardly this film was put together.  One of the pleasures of White Water Summer is watching this oddly edited film and trying to figure out what exactly happened.

Anyway, I’ve never been into the whole camping or hiking thing and, after watching White Water Summer, I have no regrets.*  And yet, this is another one of those films that I do think that everyone should watch at least once, just because the movie itself is so weird.

Add to that, it’s on TV all the time!

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* Now Wild, that’s a great hiking film!

Val’s Movie Roundup #14: Hallmark Edition


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Love Is a Four Letter Word (2007) – This was really disappointing. I could say something like shit is also a four letter word, but disappointing is really a better word for this movie. The movie is about three couples. The first are newlyweds. The second are an older couple who are getting divorced. The third are the two divorce attorneys handling each end of the older couples divorce. What’s so disappointing is that the beginning of this movie has some of the sweetest, affectionate, and genuine moments between two lovers I have seen in a Hallmark movie. However, it then just degenerates into a pitiful attempt at a 1940’s screwball comedy while trying to keep the emotions of the beginning of the film alive on top of cutting between the three couples to tell their stories in parallel. It doesn’t work! Why couldn’t the movie have stuck with the couple we met at the beginning and just tell a nice simple love story. Is it a sin to follow the principle of KISS when making a movie? That being Keep It Simple Stupid! There’s no reason to waste your time on this movie.

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Jack’s Family Adventure (2010) – This movie is okay, but that’s the problem. It’s so okay that it’s not really worth watching. A guy played by Peter Graves dies and leaves a cabin to his son played by Jonathan Silverman. No! I’m not going to make that joke.

Jack decides to take his family to said cabin because we all know that getting away from city life brings families together. While they are adjusting, a guy called Wild Bill (Peter Strauss) shows up. They all have a good time and the family emerges closer than when they arrived. That’s it! Like I said, it’s just so okay that boredom sets in pretty quickly. Not worth seeking out, but you’ll survive if you end up seeing it.

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Dear Prudence (2008) – Was Jane Seymour always this annoying? I think I have only seen her in Live And Let Die (1973). She is like the living embodiment of the wig from Lies Between Friends. Awful! Well, Seymour plays some TV show host who basically shows you life hack type stuff. She gets sent to a special place in Wyoming. It doesn’t take long for her to stumble upon a crime. I didn’t even know this was going to be a murder mystery going into it. I mean it doesn’t have “murder” or “mystery” in the title to tell me. Sadly, that is so common with Hallmark that I was honestly surprised when she came across blood on a carpet. However, I wasn’t surprised to quickly figure out this was actually shot in Canada. Little tip for Canadian productions trying to pretend they are in the U.S.: Don’t have your Canadian actors say the word “about”.

So in between fantasies of Jason showing up to cut off Seymour’s head, a murder mystery unravels. It’s not an interesting mystery by any means, but Seymour and her trusty side kick giving out all these stupid household remedies for everything will suck any fun you might derive from it right out of it. Skip!

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Murder 101: College Can Be Murder (2007) – This is easily the best entry in the Murder 101 series. Despite “murder” being in the title of the movie, it is actually all about Dick Van Dyke trying to get his bike back after it is stolen. It’s an old bike that has a lot of sentimental value. He of course hires his friend played by his son Barry Van Dyke to help him track it down. It’s so funny! Dick keeps seeing people on campus riding his bike around and tries to chase them down. He never catches them. He goes to the gym to try and get in shape in the futile hope that it will help him catch the thief. Barry keeps going around questioning people all about this bike. Posters are put up all around campus. There’s even a scene where Dick is in class and has what I can only describe as a spidey sense that his bike is nearby. He runs out into the hall to find the thief waiting for him on his bike. A hilarious chase ensues.

I would have totally loved this movie if that was what it was actually about. In reality, the stolen bike is just a subplot. I made up some of that stuff, but he does keep chasing after the bike, goes to the gym to gain speed, and Dick does put up posters. Why couldn’t the movie be one long joke about that bike? Instead, some college professor gets killed by eating an orange. At first it’s natural causes, but after Barry does some dumpster diving to retrieve the orange (how the hell did he do that?) they discover he was poisoned. It all winds up revolving around the saying of “publish or perish”. It’s a decent entry in the Murder 101 series, but I really wanted that bike movie instead.

Insomnia File #1: The Story of Mankind (dir by Irwin Allen)


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What’s an Insomnia File?  You know how some times you just can’t get any sleep and, at about three in the morning, you’ll find yourself watching whatever you can find on cable?  This feature is all about those insomnia-inspired discoveries!

If, last night, you were suffering from insomnia at 3 in the morning, you could have turned on TCM and watched the 1957 faux epic, The Story of Mankind.

I call The Story of Mankind a faux epic because it’s an outwardly big film that turns out to be remarkably small on closer inspection.  First off, it claims to the tell the story of Mankind but it only has a running time of 100 minutes so, as you can imagine, a lot of the story gets left out.  (I was annoyed that neither my favorite social reformer, Victoria C. Woodhull, nor my favorite president, Rutherford B. Hayes, made an appearance.)  It’s a film that follow Vincent Price and Ronald Colman as they stroll through history but it turns out that “history” is largely made up of stock footage taken from other movies.  The film’s cast is full of actors who will be familiar to lovers of classic cinema and yet, few of them really have more than a few minutes of screen time.  In fact, it only takes a little bit of research on the imdb to discover that most of the film’s cast was made up of performers who were on the verge of ending their careers.

The Story of Mankind opens with two angels noticing that mankind has apparently invented the “Super H-Bomb,” ten years ahead of schedule.  It appears that mankind is on the verge of destroying itself and soon, both Heaven and Hell will be full of new arrivals.  One of the angels exclaims that there’s already a housing shortage!

A celestial court, overseen by a stern judge (Cedric Hardwicke) is convened in outer space.  The court must decide whether to intervene and prevent mankind from destroying itself.  Speaking on behalf on humanity is the Spirit of Man.  The Spirit of Man is played by Ronald Colman.  This was Colman’s final film.  In his heyday, he was such a popular star that he was Margaret Mitchell’s first choice to play Rhett Butler in Gone With The Wind.  However, in The Story of Mankind, Colman comes across as being a bit bored with it all and you start to get worried that he might not be the best attorney that mankind could have hired.

Even more worrisome, as  far as the future of mankind is concerned, is that the prosecutor, Mr. Scratch, is being played by Vincent Price.  Making his case with his trademark theatrics and delivering every snaky line with a self-satisfied yet likable smirk on his face, Vincent Price is so much fun to watch that it was impossible not to agree with him.  Destroy mankind, Mr. Scratch?  Sure, why not?  Mankind had a good run, after all…

In order to make their cases, Mr. Scratch and the Spirit of Man take a tour through history.  Mr. Scratch reminds us of villains like the Egyptian pharaoh Khufu (John Carradine) and the Roman Emperor Nero (Peter Lorre, of course).  He shows how Joan of Arc (Hedy Lamarr) was burned at the stake.  The Spirit of Man argues that, despite all of that, man is still capable of doing good things, like inventing the printing press.

And really, the whole point of the film is to see who is playing which historical figure.  The film features a huge cast of classic film actors.  If you watch TCM on a semi-regular basis, you’ll recognize a good deal of the cast.  The fun comes from seeing who tried to give a memorable performance and who just showed up to collect a paycheck.  For instance, a very young Dennis Hopper gives a bizarre method interpretation of Napoleon and it’s one of those things that simply has to be seen.

And then the Marx Brothers show up!

They don’t share any scenes together, unfortunately.  But three of them are present!  (No, Zeppo does not make an appearance but I imagine that’s just because Jim Ameche was already cast in the role of Alexander Graham Bell.)  Chico is a monk who tells Christopher Columbus not to waste his time looking for a quicker way to reach India.  Harpo Marx is Sir Isaac Newton, who plays a harp and discovers gravity when a hundred apples smash down on his head.  And Groucho Marx plays Peter Miniut, tricking a Native American chief into selling Manhattan Island while leering at the chief’s daughter.

And the good thing about the Marx Brothers is that their presence makes a strong argument that humanity deserves another chance.  A world that produced the Marx Brothers can’t be all bad, right?

Anyway, Story of Mankind is one of those films that seems like it would be a good cure for insomnia but then you start watching it and it’s just such a weird movie that you simply have to watch it all the way to the end.  It’s not a good movie but it is flamboyantly bad and, as a result, everyone should see it at least once.

 

 

 

4 Shots From 4 Films: Walkabout, Don’t Look Now, The Man Who Fell To Earth, Insignificance


Happy birthday, Nicolas Roeg.

4 Shots From 4 Films

Walkabout (1971, directed by Nicolas Roeg)

Walkabout (1971, directed by Nicolas Roeg)

Don't Look Now (1973, directed by Nicolas Roeg)

Don’t Look Now (1973, directed by Nicolas Roeg)

The Man Who Fell To Earth (1976, directed by Nicolas Roeg)

The Man Who Fell To Earth (1976, directed by Nicolas Roeg)

Insignificance (1985, directed by Nicolas Roeg)

Insignificance (1985, directed by Nicolas Roeg)

The Daily Grindhouse: Death Has Blue Eyes (dir by Nico Mastorakis)


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Just in case you needed proof that I will literally watch and review anything, here’s a few thoughts on an extremely obscure Greek thriller, which was first released in 1976.  As often happened with exploitation films in the 70s, this movie was released under several different names.  It’s original Greek title was To koritsi vomva.  Apparently, in England, it was known as The Para Psychics, which is truly a hideous title.  I prefer the American title, Death Has Blue Eyes.

So, maybe you’re wondering how exactly it was that I ended up watching a totally unknown (and unsung) Greek thriller that was filmed long before I was even born.  The trailer for Death Has Blue Eyes was included on the first volume of 42nd Street Forever, an amazingly fun and entertaining compilation of grindhouse movie trailers.  (I imagine that I’m not alone in counting 42nd Street Forever as my introduction to the anything goes aesthetic of the grindhouse.)

Check out the trailer below!

I have to admit that this trailer became something of an obsession of mine.  Some of it, of course, was the music.  And some of it was because every second of the trailer screamed out “low-budget 1970s.”  But, beyond that, I loved this trailer because it contained so many scenes and yet it still told me absolutely nothing about the film.  Seeing as how there were very little information about Death Has Blue Eyes online, I would watch the trailer and I would try to figure out how all of the random scenes fit together.

I could tell, of course, that the film was an action movie.  It was also obvious that the film featured a woman with psychic powers and that she could apparently blow up tents and kill men in bowling alley.  Just as obviously, the two men — one dark-haired and one blonde — were trying to protect her from an evil organization.

But, beyond that, I found myself obsessing on the odd scenes of the two men and the woman on the beach.  Why, I asked myself, were they on that beach?  And why, in a few shots, did both the woman and the blonde guy have such dark circles under their eyes?  Why was their skin so much more pasty and white on the beach than it was in the rest of the trailer?  Why was the blonde guy laughing like a maniac as the tide came in?  Why did the dark-haired guy appear to look so shocked when he saw the blonde guy and the woman dancing?  Why were they dancing on the beach in the first place?  And why, while the mysterious woman looked on with a mournful expression, were the two men fighting in the ocean?

Could it be, I wondered, that the three of them were dead?  And maybe the beach was purgatory?  Perhaps that explained why the blonde guy was laughing.  Maybe he had been killed after opening that briefcase full of money.  Maybe he was laughing at the fact that, as soon as he became rich, he lost his life and found himself on Purgatory Beach.  All that trouble to get all the money and here was betrayed, dead, and in purgatory.  No wonder he couldn’t stop laughing.

And what about that briefcase full of money?  Obviously, this was a heist film.  The two men must have been friends until they both fell in love with the same psychic woman.  And then, after the heist and the fireworks show, the two men turned against each other.  They fought.  They died.  And they ended up in purgatory.

Yes, I thought to myself, that had to be it!

And, as soon as I figured that out, I knew that I had to see Death Has Blue Eyes.  I mean, how often do you get to see a film that so perfectly combines film noir with Catholic theology as the trailer for Death Has Blue Eyes?  Death Has Blue Eyes was obviously a forgotten classic, waiting for one brave red-headed film blogger to defend it!  And if that film blogger has mismatched eyes and loved to dance, all the better!

Unfortunately, it was not easy to see Death Has Blue Eyes.  There’s a few old (and expensive) VHS copies floating around but the film has never been released on DVD or Blu-Ray.  (I am lucky enough to have an old VHS player, as all good lovers of film and history should!)  However, a year ago, someone was good enough to upload Death Has Blue Eyes to YouTube and I finally got to see it!

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And all I can say is that my version is sooooo much better.

I was right about the film being an action film that featured two guys protecting a blonde with psychic powers.  But I was totally wrong about purgatory.  In fact, when I saw how the beach scenes were actually used in he film, I got angry because my version was so much better!

(Because the film contains a lot of nudity and some violence and I don’t want our little site to get in trouble, I’m not going to embed the video here.  But if you want to watch the film on YouTube, click here!)

Anyway, as for the film, it tells the story of Bob (Peter Winter) and Ches (Hristos Nomikos), who are two con artists who make a living by seducing older women and pretending to be guests at expensive hotels.  After Ches’s latest cougar victim kicks them out of her home, they find themselves homeless.  But then, they’re hired to serve as bodyguards for Christine (Maria Aliferi).  Christine is a powerful psychic who witnessed a political assassination.  Because she can read minds, she knows both who the assassin was and who he was working for!

The rest of the film is basically a nonstop collection of car chases, exploding tents, and random assassins.  (What’s odd is that Christine can blow people up by merely looking at them and yet, she still needs bodyguards.)  It doesn’t make a bit of sense and the two “heroes” are incredibly unlikable but, because it’s such a product of its time, the film is oddly watchable.  It’s terrible and there’s no purgatory but it’s still probably the only film ever made about two gigolos hired to protect a blonde with ESP from a bunch of motorcycle-riding assassins.

That said, I still think my version of the film is better!

Check out some footage below, along with listening to a bit of the film’s score.  As I said, it’s all very 70s.

Val’s Movie Roundup #13: Hallmark Edition


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Cupid, Inc. (2012) – Okay, who would have thought that Jamie Kennedy would actually be decent as Cupid? This is the guy who taught us how to survive a horror movie and was in Son Of The Mask (2005). But yep, he plays Cupid and does a good job. But he really isn’t a big part of the film all things considered. That falls to Joely Fisher. The deal is that she has to get a new couple together by Valentine’s Day, then she will find her true love. If Jamie Kennedy showed up and told me that, then I would probably ask him if I should see Dinotopia: Quest for the Ruby Sunstone (2005), but she takes him up on his offer. The rest can be boiled down to four words: It’s a Hallmark movie. Believe it or not, this is my first Valentine’s Day Hallmark movie, so I guess it’s the best one I have seen. I’ll tell you this, it’s much better than Gabe the Cupid Dog (2012).

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Fixing Pete (2011) – This one is kind of like Recipe For Love, but not as good. This has dark haired Brooke Burns who is tasked with making over a frat boy looking guy for his upcoming book tour. People often complain about female stereotypes, but this one has the male stereotypes in spades when we are introduced to Pete (Dylan Bruno). Luckily, that doesn’t last long and the two move closer and closer to each other. It’s nice, but if you can find Recipe For Love, then watch that instead.

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Murder 101: New Age (2008) – Once again it’s time for the Van Dykes to solve a murder. This time there are four of them. We’ve got Dick, Barry, Shane, and Carey. As the title suggests, the New Age movement plays a part here. Apparently, after The Nanny, Charles Shaughnessy joined the New Age movement. Basically there’s a room with him dead and gun in his hand while the only other people there are in a really deep meditation. So who killed him? It goes from there. I can’t believe it took till my third Murder 101 movie to realize that Barry Van Dyke’s character is not a cop, but a PI. Not sure then why the Van Dykes seem to just take over the investigation, but who cares. All that matters is that there is a scene where you get to see Dick Van Dyke play tennis on the Wii. When I saw that, I knew my life was complete. Actually, there are several humorous lines surrounding technology. Better than the mystery movies you get from Hallmark nowadays.

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Dad’s Home (2010) – Been awhile since I watched Mr. Mom (1983), but I think it’s probably quite similar. Except kill off the Mom and set it during this generation’s Great Depression. Really, that’s it. We watch him as he settles into his new role as a stay at home dad while looking for work. Before he had a nanny that took care of his kids, but she’s let go after he’s let go from his job. Not sure why she was let go though since he somehow is able to keep this very expensive home and cause of the ending where I swear he decides to not work again. Of course, there has to be a romance thrown in. The hot and nice blonde teacher takes a liking to him and things progress. The only thing that was memorable was when dad interviews for a job at a tech company. The head of the company actually refers to Social Network Accounts as SNAs. I couldn’t even find that in Urban Dictionary. He asks him if he podcasts. I also swear he asked him if he was on Orkut. That’s the social network that was really popular in Brazil. He also asks if he “does Twitter”. What? Was this intentional to show that the guy was actually clueless about the industry he was in or did the writers not know what they were talking about. Or were they trying some feeble attempt to make fun of tech companies. I think it’s the feeble attempt one since they mention a company acupuncturist. Grow up! These are jokes I would expect from a standup comedian. You can skip this one.

Trailer: Beasts of No Nation


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Netflix has had some recent success with creating their own content with such critically-acclaimed shows such as House of Cards, Orange Is the New Black and, most recently, with Daredevil. As their success continue they’ve now begun to create their own content in the full feature-length film area.

One such film is the adaptation of the 2005 novel Beasts of No Nation by Uzodinma Iweala. It’s about the story of the young boy, Agu, who is forced to join a rebel group in some unnamed West African nation to become a child soldier. The book, and the film, will allow us to witness his journey from innocent child to a young child-soldier who sees and participates in wartime atrocities.

Beasts of No Nation stars young actor Abraham Attah in the role of Agu with Idris Elba taking on the role of the sadistic and manipulative Commandant. It also marks the follow-up project for Cary Joji Fukunaga whose most recent work was the first season of a little series on HBO called True Detective.

Beasts of No Nation premieres simultaneously on Netflix and a limited amount of small and independent theaters on October 16, 2015.

Trailer: Let Me Make You A Martyr


Here’s the trailer for Let Me Make You A Martyr, an upcoming crime film that has been getting a lot of attention because it features Marilyn Manson as a hit man.

I’m not sure how I feel about this trailer.  I like the visual atmosphere and it’s look like the film uses Manson to good effect.  At the same time, that droning voice over gets on my nerves.

I’ll be looking forward to discovering whether Let Me Make You A Martyr is another Cold In July or another Paperboy.

The Third Annual Academy Awards: 1916


Over on Through the Shattered Lens Presidents the Oscars, Jedadiah Leland and I have been reimagining Oscar history, one year at a time! Today, we take a look at 1916, the year of Thomas H. Ince, Civilization, and Intolerance!

Lisa Marie Bowman's avatarThrough the Shattered Lens Presents The Oscars

Thomas H. Ince, the 2nd President of AMPAS Thomas H. Ince, the 2nd President of AMPAS

In the long history of the Academy of Motion Picture Arts and Sciences, 1916 was dominated by one man: Thomas H. Ince.

Today, Ince is a largely forgotten figure and his many accomplishments have been overshadowed by the mysterious and potentially sordid circumstances of his death in 1924.  However, in 1916, Ince was one of the most popular figures working in the film industry.  He was the first producer to build his own studio in California and, with D.W. Griffith and Academy President Mack Sennett, founded the Triangle Motion Picture Company.  When, following the 2nd Academy Awards ceremony, Sennett announced the he would not be running for a second term as president of the AMPAS, Ince was the obvious choice to replace him.

As President, Ince immediately launched a recruiting drive to bring more industry professionals into the organization…

View original post 1,487 more words

Film Review: The Gift (dir by Joel Edgerton)


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Because of the nature of The Gift, this post is going to contain minor spoilers.  There’s no way to talk about what makes the film work so brilliantly without giving away a few plot points.  Such is the nature of the beast and all that.  So, if you don’t want to deal with spoilers, allow me just to say this: Go see The Gift.  See it tonight.  See it tomorrow.  See it this weekend.  But, definitely — go see it!

(And if anyone tells you that The Gift is not worth seeing than that person is not really your friend and you need to start hanging out with a better class of people.)

Ryan has already reviewed The Gift and, having watched the film earlier today, I agree with everything that he had to say.  That’s why I am happy to add my voice to his and encourage you to see The Gift.  With this week pretty much dominated by ruminations on the colossal failure of The Fantastic Four and the upcoming weekend guaranteed to be dominated by the release of both Straight Outta Compton and The Man From UNCLE, there’s a definite risk that The Gift is going to get lost in the shuffle.

And that’s unfortunate.  Much like the thematically similar Unfriended, The Gift comes disguised as a conventional thriller but, once you start to unwrap it, you discover that there are layers and layers of subtext and The Gift is actually one of the best and most thought-provoking films of the year.

Like many great Lifetime films, The Gift opens with a married couple living a deceptively wonderful life.  Simon (Jason Bateman) is friendly and charming and appears to be on the verge of getting a big promotion at work.  He and his wife, Robyn (Rebecca Hall), appears to be happy and in love.  They have also got a friendly dog named Mr. Bojangles and they’ve just moved into a beautiful new house.  After spending the last few years in Chicago, they’ve relocated to Simon’s home state of California.  They’re looking forward to starting a family.  Everything’s perfect.

And then, while out shopping for furniture, they run into Gordo (Joel Edgerton).  Gordo explains that he went to high school with Simon.  (At first, Simon swears to his wife that he doesn’t even remember Gordo but that soon proves to be false.)  The socially awkward Gordo starts to send Simon and Robyn progressively more and more extravagant gifts.  After Simon tells Robyn that Gordon was known as Weirdo in high school, Robyn starts to feel sorry for Gordo and insists that Simon try to be friendly towards him.  Simon, however, remains weary of Gordo and his intentions.  At first, it seems like Simon is just being cautious but, as the film unfolds, we discover that Simon has his own reasons for wanting to avoid his old classmate.

The more Gordo tries to insert himself into Simon and Robyn’s life, the more we start to see the cracks behind their “perfect” marriage.  Robyn, it turns out, had previously suffered a miscarriage and has a history of abusing prescription medicine.  Meanwhile, it’s revealed that, behind Simon’s fast smile, there lies a condescending control freak.  (Gordo mentions that Simon ran for senior class president on a “Simon says” platform.)

There’s more to Simon and Gordo’s relationship than either one of them is initially willing to admit.  In high school, Simon was a bully and Gordo was his number one victim.  That Gordo wants revenge on Simon should not be surprising.  That’s obvious from the trailer.  No, the genius of the film is to be found in the way that it subtly reveals that, as an adult, Simon is still as much of a jerk and a bully as he was in high school.  He’s just gotten a lot better at hiding it. The same traits that made Simon a bully in high school have helped him to find material success in the real world.   When Gordo reeneters his life, Simon can no longer hide who he really is.  Gordo is not just his former victim.  Gordo is proof of what lies underneath Simon’s perfect facade.  When Robyn finally convinces Simon to apologize to Gordo, Simon cannot do so convincingly because he’s not so much sorry as he’s just inconvenienced.  When Gordo refuses to accept the apology, Simon’s mask falls away and he reveals his true nature, setting up the film’s devastating conclusion.

(I’m not going to spoil how the film ends but I will tell you that it left me breathless and stunned.  It’s not a happy ending but it is absolutely the right ending for the story that’s being told.  As both the film’s director and writer, Joel Edgerton deserves a lot of credit for staying true to the movie’s theme.)

Rebecca Hall is well-cast as Robyn but, ultimately, the film is dominated by the performances of Jason Bateman and Joel Edgerton.  (Interestingly enough, both Bateman and Edgerton are made up so that they superficially resemble each other, allowing Gordo to literally become the personification of Simon’s ugly side.)  Edgerton transforms Gordo into a character who is both scary and pathetic at the same time.  Meanwhile, Jason Bateman — oh, where to begin?  For the longest time, it’s been impossible for me to look at Bateman without flashing back to that scene in Juno where he hit on Ellen Page.  Now, however, I don’t think I’ll ever be able to look at Jason Bateman without hearing him yell, “Accept my apology!”  Jason Bateman has played a lot of less-than-sympathetic characters but Simon … well, Simon may be the worst.  As an actor, Jason Bateman deserves a lot of credit for not shying away from revealing the truth about Simon.  It takes courage to play such an unlikable character and talent to make that character compelling even when the viewer can’t stand him.

The Gift is an excellent and thought-provoking thriller, the type of film that will both make you jump with fright (I screamed during a certain shower scene and that’s all I’ll say about that) and leave you with much to think about after the end credits roll.

It’s a film that you need to see now.