Gene Hackman is a tremendous, multiple Oscar winning actor who has been in some of the best movies ever made. Of all that great work, the movie that means the most to me is HOOSIERS (1986). If you don’t believe me, just go ahead and follow me on X. I’m easy to find. My handle is @Hoosiers1986. I’ve shared before that my dad was a high school basketball coach at small schools here in Arkansas that weren’t much different from the one in Hickory, IN depicted in the film. Growing up in the Crain household, basketball was my life and my dad and HOOSIERS have always been such inspirations to me.
On his 95th birthday, I wanted to share this video I found of Hackman discussing his role as Coach Norman Dale in HOOSIERS, which includes clips from behind the scenes and of the film itself. I had never seen this material before so I found it especially interesting. He tells a really special story about a lady he met while on location. It was quite touching. Happy Birthday, Mr. Hackman! Enjoy!
Tom Selleck has been a part of my life almost as far back as I can remember. I was seven years old when MAGNUM P.I. premiered on T.V., so I literally grew up on the adventures of Hawaii’s best private eye! Selleck is such a likable and charismatic screen presence.
My wife and I are celebrating his birthday by watching my very favorite Tom Selleck movie, QUIGLEY DOWN UNDER (1990). I love this scene where Wyoming cowboy Matthew Quigley first arrives at the Australian ranch of Elliott Marston (Alan Rickman), and then proceeds to prove his prowess with a long distance rifle to a bunch of smirkers.
Enjoy, my friends, and Happy Birthday, Mr. Selleck!
Goddard Bolt (Mel Brooks), the massively wealthy CEO of Bolt Enterprises, wants to buy up a huge area of Los Angeles’s slums and tear them down, transforming the area into a chic neighborhood and moving all of the poor residents and street people out. Rival businessman Vaughn Craswell (Jeffrey Tambor), who grew up in the slum and dreams of destroying it himself, has the same plan. He and Bolt make a bet. If Bolt can survive for 30 days on the streets, Craswell will allow Bolt to have the property. Bolt agrees and soon, he is penniless and sleeping in alleys. While Bolt befriends Sailor (Howard Morris) and Fumes (Theodore Wilson) and falls in love with a former dancer named Molly (Lesley Ann Warren), Craswell schemes to take over Bolt’s company and keep Bolt on the streets permanently.
Life Stinks was one of Mel Brooks’s attempts to make a straight comedy that wasn’t a parody and which had a serious message underneath the laughs. The mix of comedy and drama doesn’t really gel, because the drama is too dark and the comedy is too cartoonish. Life Stinks is often guilty of romanticizing living on the streets. With the exception of two muggers, everyone whom Bolt meets is a saint. It is still interesting to see Brooks creatively at his most heartfelt and humanistic.
Life Stinks does feature some of Mel Brooks’s best work as an actor and it’s also features an excellent turn from Lesley Anne Warren. At first, I thought Warren would be miscast as a woman who spent her days in a soup kitchen and her nights sleeping in an alley. But she actually gives a very sweet and believable performance.
Continuing our theme of dystopian noir, today’s scene of the day comes from 1982’s Blade Runner. In this scene, we not only meet Rick Deckard (Harrison Ford) but we also get a look at the future of Los Angeles, from both the sky and the ground.
(Of course, the film takes place in 2019 so its future is our past!)
This is one of the best world-building scenes that I’ve ever seen, one that works because it takes place in a world we can recognize but which has obviously developed and changed over the years. Plus, I just like Harrison Ford wearing a trench coat and looking grumpy. He should have done more noirs.
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!
I have a headache and it’s raining outside. It’s time for….
4 Shots From 4 Dystopian Film Noirs
Blade Runner (1982, dir by Ridley Scott, DP: Jordan Cronenweth)
Streets of Fire (1984, dir by Walter Hill, DP: Andrew Laszlo)
Inland Empire (2006, dir by David Lynch, DP: David Lynch)
Blade Runner 2049 (2017, dir by Denis Villeneuve, DP: Roger Deakins)
The Sundance Film Festival is currently underway in Utah. For the next few days, I’ll be taking a look at some of the films that have previously won awards at Sundance.
First released in 2000, Minari is a classic story of the pursuit of the American dream.
Taking place in the early 80s, the movie follows Jacob Yi (Steven Yeun), a South Korean immigrant who relocates his family from California to Arkansas. Jacob has purchased a farm and he plans to make a fortune selling Korean produce to restaurants in Dallas. (Dallas, I should mention, does have a very large Korean population so Jacob’s plan is not a bad one.) Jacob is enthusiastic and confident that his plan will succeed. His wife Monica (Han Ye-ri) is a bit less confident. She doesn’t want to live in a mobile home and she worries about the health of her young son David (Alan Kim), who has a heart murmur. Monica feels that her husband has dragged them out to the middle of nowhere and that he has no idea what he’s doing. Jacob is determined to become a success and he even hires his first employee, Paul (Will Patton), a local eccentric who often walks up and down the highway with a cross on his back.
I have to admit that I was initially a bit cautious about watching Minari. I have family from Arkansas. When I was growing up, my family sometimes lived in Arkansas. (When I was growing up, we moved around so much that I used to just think of Arkansas, Oklahoma, New Mexico, Louisiana, Colorado, and Texas as just being one big state that I called home.) Arkansas is one of those states that is usually not treated particularly kindly in the movies. For that reason, I was pleasantly surprised by Minari. Jacob may be an outsider, as both an immigrant and a former Californian, but, for the most part, the people that he meets are kind and willing to help. Paul is especially an interesting character. Many movies would have treated Paul as a redneck joke but, in Minari, he’s given a certain dignity. The cinematography is wonderful, capturing the humid beauty of not just Arkansas but the midwest in general. Jacob and his family are 20th century pioneers, exploring what for them is a new and untouched land.
Eventually, Monica’s mother, Soon-ja (Youn Yuh-jung), comes to stay with the family. She shares a room with David and it takes a while for David to get used to his grandmother. (David complains that she doesn’t act like a grandmother.) It also takes Soon-ja a while to get used to life in Arkansas. Youn Yuh-jung won a deserved Oscar for her performance here, playing a stranger in a strange land who ultimately inspires David to find his own inner strength. The scenes between Youn and Alan Kim are some of the strongest in the film. Towards the end of the film, Youn has a scene that truly left me in tears.
Minari is about the pursuit of the American dream but it’s also about the strength of family. Jacob is not always a sympathetic character but he proves himself in the end. The film ends on an ambiguous note but I choose to believe that Jacob eventually found his fortune.
Minari won the Dramatic Grand Jury Prize and, like many so many Sundance hits in the past, it went on to be nominated for Best Picture. It lost to Nomadland, despite Minari being a far superior film. That’s the Academy for you.
I hope that Bradley Cooper will win an Oscar soon.
It’s obvious that Cooper wants that Oscar and really, who can blame him? After spending years being dismissed as a lightweight comedy actor, Cooper has really come into his own over the past thirteen years. 2012 was the year that he starred in Silver Linings Playbook and received his first Best Actor nomination. In the years that followed, he was nominated for American Sniper, American Hustle, A Star Is Born and Maestro. He deserved to be nominated for both Nightmare Alley and Licorice Pizza. Cooper has shown himself to be both a talented actor and director. He may not have been nominated for his direction of A Star Is Born but everyone knows that he should have been. He’s come a long way from being the star of The Hangover films and it makes sense that he would want an Oscar to make it official.
(The Oscar itself may not carry the cultural cachet that it once did but seriously, an award is an award.)
That desire for an Oscar is probably the best way to explain 2023’s Maestro, a film that really might as well have just been called Oscar Bait. Not only did Cooper direct and co-write Maestro but he also donned a prosthetic nose (and was briefly the center of some online controversy) to play the role of composer Leonard Bernstein. Filmed in both black-and-white and color, the film follows Leonard Bernstein from his young debut as a conductor through his marriage to Felecia (Carey Mulligan). Throughout the film, Felecia remains Leonard’s strongest supporter and his muse, even when she’s embarrassed by the rumors of his own impulsive behavior and his habit of cheating on her with men. The film is a portrait of the struggle to be a genius, the struggle to support a genius, and the love that can hold two people together even during the most difficult of times. And it’s all very Oscar bait-y, giving both Bradley Cooper and Carey Mulligan several scenes that, while well-executed, still feel as if they were designed specifically to appeal to the voters.
I had mixed feelings about Maestro when I watched it. On the one hand, I definitely admired the craft and the skill that went into the production. I admired the performances of both Bradley Cooper and Carey Mulligan. The movie’s soundtrack is full of the best of Bernstein’s compositions, all performed by the London Symphony Orchestra. The movie looked wonderful and it sounded wonderful but it also felt strangely hollow. Watching it, I realized that the movie really didn’t know what it wanted to say about Bernstein and Felecia. The movie was so consumed with technical perfection that the emotions of the story sometimes felt rather remote. It was a film about Leonard Bernstein that, despite Cooper’s strong performance, failed to really give us a reason to care about Bernstein. Maestro is a film that you admire while you watch it but it doesn’t really stick with you afterwards. It’s the epitome of Oscar bait.
Maestro did not win Cooper any Oscars, though it did bring some nominations. The film was also nominated for Best Picture but it lost to Oppenheimer. That said, I’m looking forward to the year when Bradley Cooper does finally win his Oscar and hopefully, he’ll win it for a film that’s more like the emotion-filled A Star Is Born than the rather detached Maestro. He’s one of my favorite actors and he’s due.
John Bourgignon (John Candy) is a man of many talents. He’s a limo driver. He’s a drummer. He is an occasional actor, having starred in Kung Fu U. for his friend, director Sal DiPasquale (Eugene Levy). John is also improbably engaged to Nancy Reece (Alley Mills), the daughter of Congressman and presidential candidate Ed Reese (Pat Hingle). As the wedding approaches, John deals with a number of things. He chauffeurs around a group of Spanish Beatles impersonators. He finds himself handcuffed to a fugitive (Ernie Hudson) who dies at an inopportune time. A cult leader (Richard Libertini) attempts to brainwash John into assassinating Ed, though the process might just turn John into a “schmuck.”
Going Berserk was John Candy’s first lead feature role and it was obviously designed to play to Candy’s popularity as one of the stars of SCTV. Going Berserk doesn’t gave a plot as much as it’s a collection of skits, some of which work better than others but all of which are held together by Candy’s comedic timing and amiable presence. Going Berserk is disjointed and wildly uneven but it’s also frequently funny and that is a testament to Candy’s talent. Even an overlong parody of The Blue Lagoon raises a smile because John Candy is just so committed to playing out the joke.
Going Berserk also features several familiar faces, like Richard Libertini, Pat Hingle, Ernie Hudson, Dixie Carter, Kurtwood Smith, Paul Dooley, and two of Candy’s SCTV co-stars, Eugene Levy and Joe Flaherty. I especially liked Levy’s performance as the sleazy director who blackmails his way into filming the wedding. Going Berserk was frequently stupid but, more often than not, it made me laugh.
Ryan Coogler and Michael B. Jordan have become their generations director-actor duo. Films like Fruitvale Station, Creed, Creed 2, Black Panther and Black Panther: Wakanda Forever has the two working together for over a decade and they continue with a new film that brings the two into a new genre with the period action horror Sinners.
We haven’t had a good horror film set in the Deep South and this one takes it a layer deeper by setting it during Jim Crow era. Knowing Coogler there’s bound to be more than just visceral action and horror for audiences to sink their teeth on.
Michael B. Jordan will be joined by other MCU alumni Hailee Steinfeld and Wunmi Mosaku and his frequent collaborators Ludwig Göransson, Autumn Durald Arkapaw and Michael Shawver.
In 1945, Peter Gray made history when he became the first one-armed major league baseball player. Gray grew up in poverty in Pennsylvania. His father was a miner and Peter was one of five children. He was only seven years old when he lost his right arm in a wagon accident but he loved baseball and he wasn’t going to let his disability keep him from playing. He learned how to bat and catch and throw with his left hand. He quit school when he was thirteen and worked for a while as waterboy while playing baseball in the local leagues. Eventually, he made his way up to the minor leagues and, in 1945, he was called up to the majors. He played one season for the St. Louis Browns.
The media loved the story of the one-armed baseball player but Peter always said that he resented feeling like he was being put on display whenever he took the field. He was a competitive outfielder who could catch a ball, remove his glove, and then throw the ball to the infield just as quickly as anyone with two hands. As a hitter, he struggled because pitchers figured out early on that he couldn’t hit the breaking ball. After the 1945 season, Peter was sent to back to the minors, where he spent the rest of his career. Though Peter was known for being an angry player who resented anyone pointing out his disability, he still made time to visit amputees in military hospitals to show them that they could still find success and to encourage them to chase after their dreams.
Peter’s story was the basis of A Winner Never Quits, which I watched on YouTube this weekend. It was a good baseball movie, starring Keith Carradine as Peter. What I liked is that the movie didn’t make him into a saint. Carradine played Peter as being angry and with a definite chip on his shoulder. Peter had every right to be angry and I’m glad the movie acknowledged that. In both the movie and in real life, Peter was worried that he was just being treated as a sideshow. In the movie, his attitude improves when he meets a young boy who recently lost his arm and who looks up to Peter. Peter remained a friend to the boy and his family for the rest of his life. A Winner Never Quits is about pursuing what you love and never giving up. That’s what baseball is all about. A Winner Never Quits is a good and inspiring baseball movie that’s not just for the fans.
