Maniac Cop (1988, directed by William Lustig)


In New York City, murders are being committed by a hulking man dressed in a policeman’s uniform.  The NYPD brass (led by William Smith and Richard Roundtree) want to cover up the fact that the murders are being committed by an apparent maniac cop but Lt. Frank McRae (Tom Atkins) leaks the news to the press.  With the citizens taking up arms against cops, the brass is eager to frame adulterous cop Jack Forrest (Bruce Campbell) for not only murdering his wife but also committing all of the murders.  Lt. McRae believes that Jack is innocent.

Why is the brass so eager to frame Jack?  Maybe it’s because they know that the Maniac Cop is actually Matt Cordell (Robert Z’Dar), a formerly good cop who was sent to Sing Sing on  trumped up brutality charges.  Cordell was killed in prison but he has now come back to life and is seeking revenge on the police force that he feels betrayed him.

Written by Larry Cohen and directed by William Lustig, Maniac Cop is the first of three Maniac Cop films.  While the other two Maniac Cop movies largely work and hold up well, the first Maniac Cop is undoubtedly the worst of the trilogy, with most of the kills occurring offscreen and the action moving very slowly.  The film is full of genre vets and Tom Atkins gives another one of this good tough guy performances.  Bruce Campbell disappointingly plays his role straight and Robert Z’Dar, as intimidating as he is, is actually underused in this film.

As with most films written by Cohen, Maniac Cop has an interesting political subtext.  It focuses on cop brutality and corruption with Cordell becoming a symbol of most people’s mixed feelings about the police.  But the Maniac Cop trilogy wouldn’t really come to life until the second film.  The first spends a lot of time setting Cordell up as a relentless avenger but there’s not much of pay-off.

A Movie A Day #336: The Bronx Bull (2017, directed by Martin Guigui)


New York in the 1930s.  Jake LaMotta (Morean Aria) is a tough street kid who is pushed into fighting by his abusive father (Paul Sorvino) and who is taught how to box by a sympathetic priest (Ray Wise).  When Jake finally escapes from his Hellish home life, it is so he can pursue a career as a professional boxer.  Ironically, the same violent nature that nearly destroyed him as a youth will now be the key to his future success.

In the late 60s, a middle-aged Jake LaMotta (William Forsythe) testifies before a government panel that is investigating that influence of the Mafia in professional boxing.  LaMotta testifies that, during his professional career, he did take a dive in one of his most famous matches.  LaMotta goes on to pursue an entertainment career which, despite starring in Cauliflower Ears with Jane Russell, never amounts too much.  He drinks too much, fights too much, and gets into arguments with a ghost (Robert Davi).  He also gets married several times, to women played by everyone from Penelope Ann Miller to Alicia Witt.  The movie ends with Jake happily walking down a snowy street and a title card announcing that Jake is now 95 years old and married to his seventh wife.  (The real Jake LaMotta died on September, 9 months after the release of The Bronx Bull.)

The Bronx Bull is a largely pointless movie about the later life of the antisocial boxer who was previously immortalized in Martin Scorsese’s Raging Bull.  In fact, The Bronx Bull was originally announced and went into production as Raging Bull II.  Then the producers of the original Raging Bull found out, filed a lawsuit, and the film became The Bronx Bull.  Because of the lawsuit, The Bronx Bull could cover every aspect of Jake’s life, except for what was already covered in Raging Bull.  In fact, Scorsese’s film (which undoubtedly had a huge impact on LaMotta’s later life) is not even mentioned in The Bronx Bull.

William Forsythe does what he can with the role but, for the most part, Jake just seems to be a lout with anger issues.  With a cast that includes everyone from Tom Sizemore to Cloris Leachman to Bruce Davison, the movie is full of familiar faces but none of them get too much of a chance to make an impression.  Joe Mantegna comes the closest, playing Jake’s best friend.  The Bronx Bull was not only shot on the cheap but it looks even cheaper, with studio backlots unconvincingly filling in for 1930s Bronx.  The film’s director, Martin Guigui, occasionally tries to throw in a Scorsesesque camera movement and there are a few black-and-white flashbacks but, for the most part, this is the mockbuster version of Raging Bull.

Lisa Watches an Oscar Nominee: The Hustler (dir by Robert Rossen)


Hustler_1961_original_release_movie_posterFor my final Oscar-nominated film of the night, I watched the 1961 film The Hustler.

Filmed in harsh black-and-white and featuring characters who live on the fringes of conventional society, The Hustler is one of those films that’s so unremittingly bleak that it would probably be so depressing as to be unwatchable if not for the talented cast.  Paul Newman plays “Fast Eddie” Felson, a pool hustler who is talented but cocky, a guy who has the talent of a winner and the self-centered, self-pitying personality of a loser.  When we first meet Eddie, he and his manager, Charlie (Myron McCormick) have traveled all the way from Oakland to New York, all so Eddie can challenge and hopefully beat the legendary pool player Minnesota Fats (Jackie Gleason).  Eddie does get his chance to challenge Minnesota (or perhaps I should call him Mr. Fats?) and comes close to winning.  However, in the end, Eddie is too arrogant and impulsive and he ends up losing to Mr. Fats.

Defeated and humiliated, Eddie is hiding his meager possessions in a storage locker at the local bus station when he first meets Sarah Packard (Piper Laurie).  Sarah is an alcoholic and an aspiring writer.  She claims to be a part-time student but we never actually see her in class.  She walks with a pronounced limp and she has a habit of declaring the world to be “perverted, twisted, and crippled.”  Soon, she and Eddie are living together, two lost souls who support and destroy each other at the same time.  When Sarah attempts to write a short story about Eddie, Eddie responds by destroying the page and ordering her to never write about him again.  Charlie views Sarah as a destructive influence and decides that he doesn’t want to have anything else to do with Eddie.

However, Eddie soon finds a new manager.  Bert Gordon (a demonic George C. Scott) is a gambler who says that if Eddie sticks with him, Eddie will not only get rich but he’ll defeat Minnesota Fats as well.  At first, Eddie wants nothing to do with Bert but, when his own attempts at hustling lead to him getting his thumbs broken, Eddie has a change of heart.  Under Bert’s guidance, Eddie find success but he does so at the expense of what little decency that he had to begin with…

Eddie is an interesting character, one who most viewers will probably have mixed feelings about.  On the one hand, he’s a jerk.  He’s an arrogant, cocky jerk who thinks that he’s the best and who either uses or allows himself to be used by almost everyone that he meets.  Though he definitely ends up being exploited by Bert, Eddie knew what he was getting into when he made his deal with the devil.  Though he loves Sarah and she loves him, Eddie still treats her poorly.  There are just so many reasons to dislike Eddie Felson.

Except, of course, Eddie Felson is played by Paul Newman.

Seriously, it is possible to dislike a character played by Paul Newman?  As an actor, Newman was so charismatic and projected an innate goodness that came through even when he was playing a character who didn’t always do nice things.  As written, the character of Eddie spends the majority of the movie acting like a louse.  But, as played by Newman, Eddie becomes a wounded anti-hero, the bad boy that every girl dreams of somehow redeeming.

Ultimately, there are many reasons to see The Hustler.  Gleason and Laurie both give good performances.  George C. Scott, meanwhile, is like a force of nature.  Just listen to him as he shouts, “You owe me money!”  Director Robert Rossen finds an odd beauty in some of the sleaziest parts of New York City.  But, in the end, the main reason to see The Hustler is for Paul Newman’s amazing performance in the title role.  It’s a great performance that elevates the entire film.

I have to admit that I don’t know much about pool.  During my first college semester, I lived in a dorm that had a pool table in the front lobby.  There was always a large group of people gathered around that table, playing pool and generally looking like a bunch of hipster douchebags.  Sitting in the lobby meant having to listen to a constant soundtrack of balls clacking against each other, followed by people saying, “Such-and-such in the corner pocket” or whatever the Hell it is people say when they’re playing pool.  (To be honest, though I could hear the voices, I rarely listened to what they were actually saying.)  I don’t know if the people playing pool in the lobby were any good.  But, after seeing The Hustler, I can say that Eddie Felson would have beaten all of them.