VOYAGE (1993) – Rutger Hauer and Eric Roberts battle it out on a boat!


The 1993 made-for-cable television film VOYAGE opens with Morgan Norvell (Rutger Hauer) and his wife Kit (Karen Allen) headed to their 20-year class reunion. Morgan didn’t really want to go, but Kit talked him into it. It seems that Morgan was a champion diver back in high school. We know that because he’s looking at some pictures at the reunion that are meant to illustrate what a great athlete he once was. I say “meant to illustrate” because the man in the pictures looks absolutely nothing like a potentially younger Hauer would. Hauer is a big boned man, known for his blond hair. This guy in the pictures is scrawny with dark hair, but I’ll just move on, I guess. Morgan and Kit seem to be enjoying themselves, when they run into Kit’s old friend Gil Freeland (Eric Roberts) and his wife Ronnie (Connie Nielsen). It’s kind of awkward at first because Gil asks Morgan if he remembers him, and Morgan doesn’t, even though they were in the same class. Isn’t that the worst? I was recently at an Arkansas Razorbacks football game, and as I walked away from the concession area with my beverage, this lady’s voice said, “Well, if it isn’t Brad Crain.” I looked at the group of people standing in front of me, including the lady who said my name, and I immediately knew I was in trouble. They all looked kind of familiar, but a long time ago “kind of familiar,” and I knew none of their names. And then she asked that question I was hoping to avoid, “You don’t remember me, do you?” I had to admit I didn’t. We spoke for a few moments, and then I headed to my seat feeling a little embarrassed. I told my family about the exchange a few days later, and my sister Pam said that the lady was her best friend in school and that she used to spend the night at our house when we were kids. But the truth is that I still don’t really remember her, and now I’m starting to worry about how the hell I can’t remember her!

After that initially awkward moment, Morgan, Kit, Gil and Ronnie sit down together and start talking about their lives. We learn that Morgan is an architect (ala Paul Kersey), that Kit is an author, that Gil is a dentist, and that Ronnie just looks good. If she told her profession, I missed it. In a case of giving way too much information to people you haven’t seen in 20 years, Morgan and Kit tell the couple of their plans to go to Monte Carlo where they have a sailboat, which they plan to sail down the coast of Italy until they reach Malta. It seems that they purchased a hotel that is in much need of repair, and that they are going to live on the boat for a year, while Morgan puts his architect skills to good use and restores the property. The couple, who have had their share of struggles, are using this adventure as a fresh start in their marriage. Well Gil and Ronnie think this all sounds like a ball and even say that they’d love to join them for a few days if they could. No specific plans are discussed, and Morgan and Kit say that would be great, without expecting they’ll see them again after this night. Wrong! While Morgan is getting the boat ready in Monte Carlo, Gil and Ronnie show up. They have a good day on the ocean together and are enjoying some champagne that night when Gil proceeds to invite himself and Ronnie to go along with them on down the coast for a few days. She doesn’t want to be rude, but Kit is not for this idea so she kicks Morgan under the table. This is supposed to be their time to work on their relationship. Morgan should have known better than to say that Kit and Ronnie could join them for a few days, because any person who’s married or in a relationship should understand the under the table “kick to the shin.” But in a complete dumbass move, he invited them along anyway.

And this is where things really start going in a different direction. That first night, Ronnie makes a sexual move on Morgan, which he somehow has the strength to turn down, while Gil and Kit are downstairs reliving old times… Strike 1! That same night, Morgan is awakened to the sounds of a person on the deck and finds Gil up there. Gil says he was needing some fresh air and dropped his champagne, but Morgan finds the fuel cap is loose after Gil goes back downstairs… Strike 2! A couple of days later, Ronnie tries to kiss Kit, Gil catches a fish and bashes its head in instead of just throwing it back and then has the nerve to imply to Morgan that he had sex with Kit in high school… Strikes 3, 4, and 5! Morgan knocks the crap out of Gil and then makes them get off the boat when they get back to shore that day.

And from that point forward, Morgan and Kit sail on down the coast of Italy, making their way to Malta where they rebuild both their relationship and the Hotel Riviera, and live happily ever after! I’m just kidding, the rest of the movie consists of Gil and Ronnie terrorizing the couple, ultimately wanting to kill them for far more nefarious purposes than I’ll reveal here. I believe that most people in the world will fit into 2 categories: those who want to watch a movie where Eric Roberts terrorizes and tries to kill Rutger Hauer, and those who don’t want to watch such a movie. I’m really writing this up for those in the first camp, so I don’t want to spoil this movies surprises!

Back in 1993, Rutger Hauer’s run as a big-screen lead was nearing its end. With a couple exceptions, he would spend the rest of the decade appearing in made-for-cable TV films and other low budget direct-to-video type fare. Eric Roberts, who had received an Oscar nomination a decade earlier, was also mostly doing low budget direct-to-video fare, TV movies, and the occasional character part in a larger budget movie. This is an interesting time for both actors as their careers were transitioning. But we’re talking about two guys who know how to act, as evidenced by Hauer’s 174 acting credits on IMDB and Roberts’ 760 acting credits on IMDB (and counting as he has 4 credits in 2025 already). Both Hauer and Roberts are capable of playing complete psychos, so I’m not sure how they settled in on Roberts to play the psycho in this one. It may be because Hauer played a psycho stalker in his earlier movie from 1993, the made-for-HBO film BLIND SIDE, but that’s just a guess.

I enjoyed VOYAGE when I watched it the night of its premiere on the USA Network on June 2nd, 1993, and I enjoyed it when I watched it again this morning. I’m a huge fan of Rutger Hauer, and I’ve always appreciated Eric Roberts. For me, it’s a real treat seeing these two guys face off. I enjoy that Hauer gets to play the “hero” while Roberts is the dangerous creep, and Roberts is as creepy as it gets in this movie. Hauer’s role isn’t very flashy, as he’s a pretty normal guy who finds himself in a bad situation, but he is Rutger Hauer so it’s not a surprise that he’s able to summon the strength to fight for his and his wife’s lives. VOYAGE was directed by John Mackenzie. Mackenzie made some good films earlier in his career, including the phenomenal British crime film THE LONG GOOD FRIDAY (1980), the Charles Bronson corrupt union drama ACT OF VENGEANCE (1986), and the Michael Caine / Pierce Brosnan spy thriller THE FOURTH PROTOCOL (1987). While VOYAGE is certainly not his most accomplished work, Mackenzie knows how to make a film, and he does a fine job here. And finally, I always enjoy a movie filmed in beautiful locations, and Malta definitely makes for some beautiful views.

Ultimately, I think your enjoyment of VOYAGE will come down to whether or not you like the idea of Rutger Hauer and Eric Roberts fighting it out to the death. I personally like that idea.  

See the trailer for VOYAGE below:

Film Review: Starman (dir by John Carpenter)


John Carpenter has directed 18 features film, from 1974’s Dark Star to 2010’s The Ward.  Some of his films have been huge box office successes.  Some of his films, like The Thing, were box office flops that were later retroactive recognized as being classics.  Carpenter has made mainstream films and he’s made cult favorites and, as he’s always the first to admit, he’s made a few films that just didn’t work.  When it comes to evaluating his own work, Carpenter has always been one of the most honest directors around.

Amazingly, Carpenter has only directed one film that received an Oscar nomination.

That film was 1984’s Starman and the nomination was for Jeff Bridges, who was one of the five contenders for Best Actor.  (The Oscar went to F. Murray Abraham for Amadeus.)  Bridges played the title character, an alien who is sent to Earth to investigate the population and who takes on the form of the late husband of Jenny Hayden (Karen Allen).  The Starman takes Jenny hostage, though its debatable whether or not he really understands what it means when he picks up her husband’s gun and points it at her.  He and Jenny drive across the country, heading to Arizona so that he can return to his ship.  Pursued by the government (represented by the sympathetic Charles Martin Smith and the far less sympathetic Richard Jaeckel), the Starman learns about emotions, eating, love, and more from Jenny.  Jenny goes from being fearful of the Starman to loving him.  Carpenter described the film as being It Happened One Night with an alien and it’s not a bad description.

After Jenny and the alien visitor make love in a boxcar, the Starman says, “I gave you a baby tonight,” and that would be an incredibly creepy line coming from a human but it’s oddly charming when uttered by an alien who looks like a youngish Jeff Bridges.  Bridges definitely deserved his Oscar nomination for his role here.  Speaking with an odd accent and moving like a bird who is searching for food, Bridges convincingly plays a being who is quickly learning how to be human.  The Starman is constantly asking Jenny why she says, does, and feels certain things and it’s the sort of thing that would be annoying if not for the way that Bridges captures the Starman’s total innocence.  He doesn’t mean to be a pest.  He’s simply curious about everything.

Bridges deserved his nomination and I would say that Karen Allen deserved a nomination as well.  In fact, it could be argued that Allen deserved a nomination even more than Bridges.  It’s through Allen’s eyes that we see and eventually come to trust and then to love the Starman.  Almost her entire performance is reactive but she makes those reactions compelling.  I would say that Bridges and Allen deserved an Oscar for the “Yellow light …. go much faster” scene alone.

Carpenter agreed to make Starman because, believe it or not, The Thing had been such a critical and commercial flop that it had actually damaged his career.  (If ever you need proof that its best to revisit even the films that don’t seem to work on first viewing, just consider Carpenter’s history of making films that were initially dismissed but later positively reevaluated.  Today, The Thing, They Live, Prince of Darkness, and In The Mouth of Madness are all recognized as being brilliant films.  When they were first released, they all got mixed reviews.)  Carpenter did Starman because he wanted to show that he could do something other than grisly horror.  Starman is one of Carpenter’s most heartfelt and heartwarming films.  That said, it also features Carpenter’s trademark independent streak.  Starman not only learns how to be human but, as a result of the government’s heavy-handed response to his arrival, one can only assume that he learns to be an anti-authoritarian as well.

Starman is one of Carpenter’s best films and also a wonderful showcase for both Karen Allen and Jeff Bridges.

Live Tweet Alert: Join #FridayNightFlix for Raiders of the Lost Ark!


 

As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, at 10 pm et, #FridayNightFlix has got 1981’s Raiders of the Lost Ark!

Oh Heck yeah!  It belongs in a museum! 

If you want to join us this Friday, just hop onto twitter, start the movie at 10 pm et, and use the #FridayNightFlix hashtag!  It’s a friendly group and welcoming of newcomers so don’t be shy.

Raiders of the Lost Ark is available on Prime and Paramount Plus!  See you there!

 

Here Are The 2019 Independent Spirit Award Nominees!


Here are the 2019 Indie Spirit Award nominations!  These nominations are meant to honor the best independent films of 2019 and their announcement marks the official beginning of awards season (at least as far as this sight is concerned!)  I hate to say it but I still need to see quite a few of the films nominated below so, for now, I’ll hold off on any editorial commentary.

For those looking for some sort of evidence of how the Oscar nominations can go, the Independent Spirit Awards can be an iffy precursor, just because several of the expensive, major studio contenders aren’t eligible to nominated.  (For instance, neither The Irishman nor Once Upon A Time In Hollywood were eligible.)  That said, for the record, the two biggest Spirit nominees are The Lighthouse and Uncut Gems.  Waves and The Farewell, which have been the center of considerable Oscar speculation, did not do as strongly in the nominations as many people apparently expected.  Make of that what you will!

Here are the nominees!

Best Supporting Female

  • Jennifer Lopez – HUSTLERS
  • Taylor Russell – WAVES
  • Zhao Shuzhen – THE FAREWELL
  • Lauren “Lolo” Spencer – GIVE ME LIBERTY
  • Octavia Spencer – LUCE
  • Best Supporting Male
  • Willem Dafoe – THE LIGHTHOUSE
  • Noah Jupe – HONEY BOY
  • Shia Labeouf – HONEY BOY
  • Jonathan Majors – THE LAST BLACK MAN IN SAN FRANCISCO
  • Wendell Pierce – BURNING CANE

Best Screenplay

  • Noah Baumbach – MARRIAGE STORY
  • Jason Begue, Shawn Snyder – TO DUST
  • Ronald Bronstein, Benny Safdie, Josh Safdie – UNCUT GEMS
  • Chinonye Chukwu – CLEMENCY
  • Tarell Alvin Mccraney – HIGH FLYING BIRD

Best First Screenplay

  • Fredrica Bailey, Stefon Bristol – SEE YOU YESTERDAY
  • Hannah Bos, Paul Thureen – DRIVEWAYS
  • Bridget Savage Cole, Danielle Krudy – BLOW THE MAN DOWN
  • Jocelyn Deboer, Dawn Luebbe – GREENER GRASS
  • James Montague, Craig W. Sanger – THE VAST OF NIGHT

Best Cinematography

  • Todd Banhazl – HUSTLERS
  • Jarin Blaschke – THE LIGHTHOUSE
  • Natasha Braier – HONEY BOY
  • Chananun Chotrungroj – THE THIRD WIFE
  • Pawel Pogorzelski – MIDSOMMAR

Best Editing

  • Julie Béziau – THE THIRD WIFE
  • Ronald Bronstein, Benny Safdie – UNCUT GEMS
  • Tyler L. Cook – SWORD OF TRUST
  • Louise Ford – THE LIGHTHOUSE
  • Kirill Mikhanovsky – GIVE ME LIBERTY

Best International Film

  • INVISIBLE LIFE, Brazil
  • LES MISERABLES, France
  • PARASITE, South Korea
  • PORTRAIT OF A LADY ON FIRE, France
  • RETABLO, Peru
  • THE SOUVENIR, United Kingdom

Best Documentary (Award given to the director and producer)

  • AMERICAN FACTORY
  • APOLLO 11
  • FOR SAMA
  • HONEYLAND
  • ISLAND OF THE HUNGRY GHOSTS

The John Cassavetes Award is presented to the best feature made for under $500,000 and is given to the writer, director, and producer. 2020 #SpiritAwards Nominees are:

  • BURNING CANE
  • COLEWELL
  • GIVE ME LIBERTY
  • PREMATURE
  • WILD NIGHTS WITH EMILY

Best Female Lead

  • Karen Allen – COLEWELL
  • Hong Chau – DRIVEWAYS
  • Elisabeth Moss – HER SMELL
  • Mary Kay Place – DIANE
  • Alfre Woodard – CLEMENCY
  • Renée Zellweger – JUDY

Best Male Lead 

  • Chris Galust – GIVE ME LIBERTY
  • Kelvin Harrison  Jr., – LUCE
  • Robert Pattinson – THE LIGHTHOUSE
  • Adam Sandler – UNCUT GEMS
  • Matthias Schoenaerts – THE MUSTANG

Best First Feature (Award given to the director and producer)

  • BOOKSMART
  • THE CLIMB
  • DIANE
  • THE LAST BLACK MAN IN SAN FRANCISCO
  • THE MUSTANG
  • SEE YOU YESTERDAY

Best Feature [award given to the producer(s)]

  • A HIDDEN LIFE
  • CLEMENCY
  • THE FAREWELL
  • MARRIAGE STORY
  • UNCUT GEMS

Best Director

  • Robert Eggers – THE LIGHTHOUSE
  • Alma Har’el – HONEY BOY
  • Julius Onah – LUCE
  • Benny Safdie, Josh Safdie – UNCUT GEMS
  • Lorene Scafaria – HUSTLERS

The Robert Altman Award is given to the ensemble cast, director & casting director of one film: MARRIAGE STORY – Noah Baumbach, Douglas Aibel, Francine Maisler, Alan Alda, Laura Dern, Adam Driver, Julie Hagerty, Scarlett Johansson, Ray Liotta, Azhy Robertson, Merritt Wever

The Truer Than Fiction Award, in its 25th year, is for emerging directors of non-fiction features and includes an unrestricted grant. Finalists:
Khalik Allah – BLACK MOTHER
Davy Rothbart – 17 BLOCKS
Nadia Shihab – JADDOLAND
Erick Stoll & Chase Whiteside – AMÉRICA

The Producers Award, now in its 23rd year, honors emerging producers who demonstrate creativity, tenacity and vision, despite highly limited resources. The award includes an unrestricted grant. These are the finalists:
Mollye Asher
Krista Parris
Ryan Zacarias

The Someone To Watch Award, in its 26th year, recognizes a talented filmmaker of singular vision and includes an unrestricted grant. The finalists are:
Rashaad Ernesto Green – PREMATURE
Ash Mayfair – THE THIRD WIFE
Joe Talbot – THE LAST BLACK MAN IN SAN FRANCISCO

The Bonnie Award will recognize a mid-career female director with a $50,000 unrestricted grant. The 2020 Film Independent #SpiritAwards Bonnie Award finalists are:
MarielleHeller
KellyReichardt
LuluWang

You’re Killing Me, Smalls!: Let’s Play in THE SANDLOT (20th Century-Fox 1993)


gary loggins's avatarcracked rear viewer


Baseball movies are as American as apple pie, and everyone has their favorites, from classic era films like THE PRIDE OF THE YANKEES and TAKE ME OUT TO THE BALL GAME to latter-day fare like THE NATURAL and FIELD OF DREAMS. There’s so much to choose from, comedies, dramas, and everything in-between. One of my all-time favorites is 1993’s coming of age classic, THE SANDLOT.

Like most baseball movies, THE SANDLOT is about more than just The Great American Pastime. Director David Mickey Evans’ script (co-written with Robert Gunter) takes us back to 1962, as young Scotty Smalls has moved to a brand new neighborhood in a brand new city. His dad died, and his mom (Karen Allen of NATIONAL LAMPOON’S ANIMAL HOUSE fame) has remarried preoccupied Bill (young comedian Denis Leary…. hmmm, I wonder what ever happened to him??), who tries to teach the nerdy kid how to play…

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A Movie A Day #294: Ghost In the Machine (1993, directed by Rachel Talaly)


Karl (Ted Marcoux) is a serial killer who works in an electronics store and who steals address books and uses them to pick his victims.  His latest stolen address book belongs to Terry (Karen Allen).  Before Karl can start killing Terry’s family and friends, he is killed in a car accident.  Because there is a lightning storm going on at the same time, the dead Karl is able to transfer his evil soul into the electrical grid.  Traveling from appliance to appliance, Karl starts to kill all of Terry’s friends and co-workers.  A microwave oven.  A hand dryer.  A dishwasher.  If it is electrical, Karl can use it to kill.  Fortunately, Terry knows a legendary hacker (Chris Mulkey) who can help her fight back.

Like Prison, Destroyer, and The Horror Show, Ghost in the Machine is another dumb movie about a psycho who gets his soul transformed into electricity.  Ghost In The Machine was also obviously influenced by The Lawnmower Man and the entire movie is full of early 90s paranoia about the internet and computers in general.  Rachel Talaly, who got her start with the Nightmare on Elm Street franchise and who has recently directed some of the best received episodes of Doctor Who, does a good job with the deaths but cannot do anything with the lousy script and unlikable characters.  Nearly everyone who dies is killed because they know Terry but that never seems to bother her.

I think every 90s kid, or at least every 90s male, watched Ghost In The Machine on HBO and had a crush on Shevonne Durkin.

Back to School Part II #9: National Lampoon’s Animal House (dir by John Landis)


NATIONAL-LAMPOONS-ANIMAL-HOUSE

You know what?  I’m going to start this review with the assumption that you’ve already seen the classic 1978 college comedy, National Lampoon’s Animal House.  At the very least, I’m going to assume that you’ve heard of it and that you know the general details.  Animal House was not only a huge box office success but it’s also one of the most influential films ever made.  Almost every comedy released since 1978 owes a debt to the success of Animal House.  Just as every subsequent high school film was directly descended from American Graffiti, every college film features at least a little Animal House in its DNA.

So, with that in mind, who is your favorite member of Delta House?

toga

Most people, I think, would automatically say Bluto (played by John Belushi) and certainly, Bluto is the best known and perhaps best-remembered member of the cast.  As played by Belushi, Bluto is the film’s rampaging ID and he’s such a force of nature that, whenever I rewatch Animal House, I’m surprised to be reminded of the fact that he’s not really in the film that much.  He’s present for the parties, of course.  He imitates a zit and starts a food fight.  He gives a rousing speech, in which he reminds the members of the Delta House that America didn’t give up after “the Germans bombed Pearl Harbor!”  He destroys a folk singer’s guitar and I personally love the scene where he tries to cheer up a despondent pledge by smashing a beer bottle over his head.  But really, Bluto is used very sparingly and he’s one of the few members of the ensemble not to get his own subplot.  Bluto’s great but he’s not my favorite member of Delta House.

Hoover

Believe it or not, my favorite member of Delta House is Robert Hoover (James Widdoes).  Hoover is the president of Delta House and, when we first meet him, he seems like he’s way too clean-cut to be in charge of the “worst house” on campus.  But then, as the film progresses, we discover that Hoover may not be as openly crazy as everyone else but he’s definitely a Delta.  Just watch him in the Toga party scene.  Just look at him in the picture that shows up during the closing credits.  It took me a while to realize that Hoover, the future public defender, was giving the camera the finger.  Hoover may look uptight but he’s secretly a wild man!

animal-house 1

One of the things that I love about Animal House is that it truly is an ensemble film.  There’s not a weak performance to be found in the entire movie.  No matter how wild or over-the-top the humor gets, the entire cast commits to their roles and, as a result, they keep this movie grounded.  You actually find yourself caring about whether or not they get kicked off campus.  You truly believe that the members of Delta House have been friends for years but, even more importantly, you believe the same thing about their rivals at Omega House.  For that matter, it may be easy to make fun of Dean Wormer (John Vernon, setting the template for all evil deans to come) but you never doubt that he’s been in charge of Faber College for years and that he’s planning on being in charge for years to come.  As played by the deep-voiced and sinister-looking Vernon, Wormer becomes every unreasonable authority figure.  When he explains the concept of super secret probation, he does so with a smug pleasure that is practically chilling.  When he mentions that the members of Delta House can now be drafted, the smile on his face is terrifying.

Wormer

You know who else gives a really good performance in Animal House?  Donald Sutherland.  At the time, Sutherland was the biggest star in the film.  He was offered either a percentage of the grosses or a flat fee.  Sutherland thought the film would flop, took the flat fee, and missed out on millions as a result. Sutherland plays Prof. Jennings, an English teacher who, in the only scene actually set in a classroom, desperately tries to get his bored students to pay attention to him.  There’s something so poignant about the way Jennings begs his students to turn in their papers.  “I’m not joking,” he sputters, “this is my job!”

Jennings

Jennings turns out to be free thinker.  He turns Boone (Peter Riefert), Katie (Karen Allen), and Pinto (Tom Hulce) onto marijuana.  There’s an anachronistic peace sign hanging in his apartment (Animal House takes place in 1963) but no matter.  Far worse is the fact that he temporarily breaks up Boone and Katie!  Everyone knows those two belong together!

Bluto and Flounder

You know who else doesn’t get enough credit for his performance in Animal House?  Stephen Furst.  He plays Flounder, a new pledge.  Flounder is just so enthusiastic about everything and he doesn’t even seem to be upset when Wormer tells him, “Fat, drunk, and stupid is no way to go through life.”  I love the enthusiastic way that Furst delivers simple lines like, “What’s my Delta Chi name?” and “Brother Bluto!  Brother D-Day!  What are you doing here!?” My favorite Flounder moment comes when he accidentally gives a horse a heart attack.  Technically, it shouldn’t be funny but it is because Furst, Belushi, and Bruce McGill (playing the role of D-Day) so thoroughly throw themselves into their roles.  For that matter, the horse did a pretty good job too.

Boone and Otter

But that’s not all!  How can I praise the ensemble of Animal House without mention Tim Matheson, who plays Otter, the future Beverly Hills gynecologist?  Or what about Kevin Bacon, playing Omega pledge Chip Diller?  This was Bacon’s first role and who can forget him shouting, “Thank you, sir, may I have another!” while being initiated into Omega House?  Or how about James Daughton and Mark Metcalf, as the two leaders of Omega House?  They were villains truly worth hissing!

Omega House

And yes, I know that a lot of the humor in Animal House is not politically correct but who cares?  It’s a hilarious movie, one that is full of good actors at their absolute best.  Yes, they’re all a bunch of privileged sexists blah blah blah, but I’d still party with the Delta House.  They know how to have fun and, even if they did wreck the Homecoming Parade, they had a good reason!

parade

And so is the movie.  Every time I see Animal House, I feel good about the world.  In 1978, The Deer Hunter was named best picture by the Academy.  Well, you know what?  With all due respect to that long epic about the tragedy of America’s involvement in the Vietnam War,  all the Oscars should have gone to Animal House!

Animal-House-e1349570128550

In conclusion … SING IT!

Let me t-t-tell you ’bout some friends I know
They’re kinda crazy but you’ll dig the show
They can party ’till the break of dawn
at Delta Chi you can’t go wrong

Otter, he’s the ladies man
Every girl falls into his hands
Boon and Katy playing “Cat and Mouse”

and Mrs. Wormer, she’s the queen of the
ANIMAL HOUSE

ANIMAL HOUSE

ANIMAL HOUSE

That Pinto he’s a real swell guy
Clorette was jailbait but he gave her a try
Chip, Doug, and Greg, they’re second to none
They studied under Attila the Hun

Mr. Jennings has got his wig on tight
Flouder’s left shoe’s always on his right
Babs and Mandy are having a pillow fight
With D-Day, Hoover, Otis Day and the Knights

DO THE BLUTO

Come on baby, dance with me
Maybe if we do the Bluto
We will get an “A” in lobotomy

DO THE BLUTO
DO THE BLUTO

DO THE BLUTO
DO THE BLUTO

Aw, come on!
Let me tell ya
Dean Wormer tried to shut us down
But he fell and he broke his crown
He didn’t know about the Delta spunk
He came in handy when we were short a skunk

At the

ANIMAL HOUSE

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Embracing the Melodrama Part II #67: Split Image (dir by Ted Kotcheff)


Split_Image_VHS_coverUnlike Desperate Lives, the 1982 melodrama Split Image is available to be viewed on YouTube.  In fact, you can watch it below and I suggest that you do so.  It’s a pretty good film and, apparently, it’s never been released on DVD or Blu-ray and it’ll probably never be available on Netflix either. So, if you’ve ever wanted to see Peter Fonda play a cult leader, your best bet is to watch the video below.

But before you watch the video, here’s a little information on Split Image, one of the best films that you’ve never heard of.

Essentially, the film follows the same plot as the Canadian film Ticket To Heaven.  A college athlete (played by Michael O’Keefe) starts dating a girl (Karen Allen) who is a member of a sinister religious cult.  Soon, O’Keefe is a brainwashed member of the cult and only answering to the name of Joshua.  (The head of the cult is played, in an appropriately spaced-out manner, by Peter Fonda.)  His parents (Brian Dennehy and Elizabeth Ashley) hire a cult deprogrammer (James Woods) to kidnap their son and break Fonda’s hold on him.  However, it turns out that Woods’ methods are almost as psychologically destructive as Fonda’s manipulation.

Even if it’s not quite as memorably creepy as Ticket To Heaven, Split Image is still a well-made film, featuring excellent performances from Dennehy, Woods, O’Keefe, and Fonda.  However, for me, the most interesting thing about Split Image is that it was largely filmed and set down here in Dallas.  Just watch the scene where Woods and his men attempt to kidnap Michael O’Keefe.  It was shot on the campus of Richland Community College, which is one of the places where I regularly go to run.

(Interestingly enough, 33 years after the release of Split Image, Richland still looks exactly the same!)

You can watch Split Image below!

http://www.youtube.com/watch?v=DKWYuJyZ9X8

 

Embracing the Melodrama #50: In the Bedroom (dir by Todd Field)


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If some enterprising young filmmaker were to try to remake Ordinary People as a film noir, he would probably be wasting his time because director Todd Field already beat him to it with the 2001 best picture nominee In The Bedroom.

In the Bedroom takes place in a small town in Maine, the type of idyllic location where almost everyone is a fisherman and, in one way or another, everyone’s future is dependent on the whims of the rich and powerful Strout family.  Dr. Matt Fowler (Tom Wilkinson) and his wife Ruth (Sissy Spacek) seem to have the perfect life: a happy marriage and a smart and likable son, Frank Fowler (Nick Stahl).  Frank has just graduated from college and appears to have a great future ahead of him except for one thing.  He’s fallen in love with Natalie Strout (Marisa Tomei), the ex-wife of the abusive Richard Strout (William Mapother).  When Frank announces that he’s thinking about not going to grad school but instead staying in town so he can work as a fisherman and marry Natalie, Ruth is horrified that her son is throwing his life away.  However, Matt argues that Frank is just going through a phase.

The violent and unstable Richard is determined to win Natalie back.  When Frank attempts to protect Natalie during one of Richard’s rampages, Richard kills Frank by shooting him in the eye.  Richard is arrested for the murder but, largely as a result of his family’s influence, he is only convicted of accidental manslaughter and gets off with probation.  Matt and Ruth are left to both work through their grief and guilt and to eventually seek their own violent vengeance on Richard Strout.

In the Bedroom is probably one of the darkest films that I’ve ever seen in my entire life.  Not only is the film thematically dark but a good deal of it takes place at night and Todd Field fills the screens with shadows.  In the Bedroom is full of scenes of characters just staring at each other, struggling to find the right words to express their feelings and, far too often, simply giving up and saying nothing.  Field makes good use of the frequent silence though.  When Matt and Ruth yell at each other in the kitchen of their home, it’s both shocking and poignant because it stands in such sharp contrast to their usual silence.  Later. when Matt confronts Richard, the frequent pauses in their strained conversation serves to make the scene all the more ominous and creepy.

However, despite being one of the saddest films ever made, In The Bedroom is worth watching just for the performances of the cast.  You probably know that Tom Wilkinson, Sissy Spacek, and Marisa Tomei are all great so instead, I’m going to focus on the two members of the cast who did not receive Oscar nominations.  William Mapother does a really good job playing an unlikable character.  The dangerous yet dorky vibe that made him so menacing when he played Ethan Rohm on Lost is fully present and put to good use here.  Finally, Nick Stahl gives a wonderful performance as poor, doomed Frank.  With limited screen time, Stahl makes Frank into such a believable and sympathetic character that his death becomes a tragedy that the audience feels as well.

Sadly, Nick Stahl has recently been in the new more for his personal troubles than his film careers.  Films like In The Bedroom and Bully show why Nick deserves a chance to make a comeback.

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