Lisa Marie Reviews An Oscar Nominee: The Right Stuff (dir by Philip Kaufman)


There’s a brilliant scene that occurs towards the end of 1983’s The Right Stuff.

It takes place in 1963.  The original Mercury astronauts, who have become a symbol of American ingenuity and optimism, are being cheered at a rally in Houston.  Vice President Lyndon Johnson (Donald Moffat) stands on a stage and brags about having brought the astronauts to his supporters.  One-by-one, the astronauts and their wives wave to the cheering crowd.  They’re all there: John Glenn (Ed Harris), Gus Grissom (Fred Ward), Alan Shephard (Scott Glenn), Wally Schirra (Lance Henrisken), Deke Slayton (Scott Paulin), Scott Carpenter (Charles Frank), and the always-smiling Gordon Cooper (Dennis Quaid).  The astronauts all look good and they know how to play to the crowd.  They were chosen to be and sold as heroes and all of them have delivered.

While the astronauts are celebrated, Chuck Yeager (Sam Shepard) is at Edwards Air Force Base.  Yeager is the pilot who broke the sound barrier and proved that the mythical “demon in the sky,” which was whispered about by pilots as a warning about taking unnecessary risks, was not waiting to destroy every pilot who tried to go too fast or too high.  Yeager is considered by many, including Gordon Cooper, to be the best pilot in America.  But, because Yeager didn’t have the right image and he had an independent streak, he was not ever considered to become a part of America’s young space program.  Yeager, who usually holds his emotions in check, gets in a jet and flies it straight up into the sky, taking the jet to the edge of space.  For a few briefs seconds, the blue sky becomes transparent and we can see the stars and the darkness behind the Earth’s atmosphere.  At that very moment, Yeager is at the barrier between reality and imagination, the past and the future, the planet and the universe.  And watching the film, the viewer is tempted to think that Yeager might actually make it into space finally.  It doesn’t happen, of course.  Yeager pushes the jet too far.  He manages to eject before his plane crashes.  He walks away from the cash with the stubborn strut of a western hero.  His expression remains stoic but we know he’s proven something to himself.  At that moment, the Mercury Astronauts might be the face of America but Yeager is the soul.  Both the astronauts and Yeager play an important role in taking America into space.  While the astronauts have learned how to take care of each other, even the face of government bureaucracy and a media that, initially, was eager to mock them and the idea of a man ever escaping the Earth’s atmosphere,  Chuck Yeager reminds us that America’s greatest strength has always been its independence.

Philip Kaufman’s film about the early days of the space program is full of moments like that.  The Right Stuff is a big film.  It’s a long film.  It’s a chaotic film, one that frequently switches tone from being a modern western to a media satire to reverent recreation of history.  Moments of high drama are mixed with often broad humor.  Much like Tom Wolfe’s book, on which Kaufman’s film is based, the sprawling story is often critical of the government and the press but it celebrates the people who set speed records and who first went into space.  The film opens with Yeager, proving that a man can break the sound barrier.  It goes on to the early days of NASA, ending with the final member of the Mercury Seven going into space.  In between, the film offers a portrait of America on the verge of the space age.  We watch as John Glenn goes from being a clean-cut and eager to please to standing up to both the press and LBJ.  Even later, Glenn sees fireflies in space while an aborigines in Australia performs a ceremony for his safety.  We watch as Gus Grissom barely survives a serious accident and is only rescued from drowning after this capsule has been secured.  The astronauts go from being ridiculed to celebrated and eventually respected, even by Chuck Yeager.

It’s a big film with a huge cast.  Along with Sam Shepherd and the actors who play the Mercury Seven, Barbara Hershey, Pamela Reed, Jeff Goldblum, Harry Shearer, Royal Dano, Kim Stanley, Scott Wilson, and William Russ show up in roles both small and large.  It can sometimes be a bit of an overwhelming film but it’s one that leaves you feeling proud of the pioneering pilots and the brave astronauts and it leaves you thinking about the wonder of the universe that surrounds our Earth.  It’s a strong tribute to the American spirit, the so-called right stuff of the title.

The Right Stuff was nominated for Best Picture but, in the end, it lost to a far more lowkey film, 1983’s Terms of Endearment.  Sam Shepard was nominated for Best Supporting Actor but lost to Jack Nicholson.  Nicolson played an astronaut.

Horror Scenes That I Love: Damien Puts A Teacher In His Place in Damien: Omen II


1978’s Damien: Omen II is a perfectly ludicrous film that mixes soapy melodrama with apocalyptic horror.  It’s a fascinating mismash that doesn’t really work and often, the most dramatic scenes are also the ones most likely to draw a chuckle from the viewer.  That said, there are a few good moments.

For instance, I’ve always liked this scene where young Damien (Jonathan Scott-Taylor) shows up one of his teachers.  It’s a good thing that Lance Henriksen stepped in when he did!

 

Scenes That I Love: Lance Henriksen in Dog Day Afternoon


The great character actor Lance Henriksen is 84 years old today!

Ever since he made his film debut in 1970, the legendary Henriksen has played a collection of villains, bikers, police officers, soldiers, and even the occasional android.  One of his earliest appearance was in 1975’s Dog Day Afternoon.  His role is small but he definitely makes an impression.  His faux friendly suggestions that Sal point his gun upwards is the line that sets off the film’s haunting ending.  For viewers today, of course, we know that Sal and Sonny are screwed as soon as Lance Henriksen shows up outside of the bank.

In today’s scene that I love, Lance Henriksen does what only a great character actor can do.  In less than a minute, he created a truly unforgettable character.

Horror Film Review: The Pit and the Pendulum (dir by Stuart Gordon)


AGCK!

That was my reaction when I watched the 1991 film, The Pit and the Pendulum.  Based very narrowly on several Edgar Allan Poe short stories, The Pit and the Pendulum takes place at the height of the Spanish inquisition.  Despite the objections of the Pope, Grand Inquisitor Torquemada (Lance Henriksen) is leading a reign of terror though 15th Century Spain.  In his torture chambers, Torquemada forces confessions from accused witches and other criminals.  The dirty prison cells are full of starving and beaten partners.  Witches are burned at the stake and explode while the crazed citizenry calls for blood and Torquemada tests out new torture devices.

Torquemada presents himself as being a grim and emotionless man, someone who is above all sin and who is allowed to sit in judgment of the people who are brought before him.  However, Torquemada is hardly the sinless figure that he portrays himself as being.  His actions are fueled by his repressed lust and his anger.  Maria (Rona De Ricci) has been brought before him, accused of being a witch and Torquemada is determined to get her to confess.  Maria’s refusal to be broken by Torquemada only increases Toquemada’s anger but, at the same time, Torquemada has also decided that he’s in love with Maria.  While Maria waits in the prison and takes advice from the witch Esmerelda (Frances Bay), Maria’s husband, Antonio (Jonathan Fuller), attempts to break Maria out of prison.  When Antonio is captured, Torquemada decides to try out his latest device, a swinging and sharpened pendulum that hangs in a pit….

The Pit and the Pendulum is not always an easy movie to watch.  I have to admit that I spent the majority of the movie with my hands over my eyes, not wanting to watch the extremely graphic torture scenes.  Like many of director Stuart Gordon’s film, The Pit and the Pendulum is gripped by an atmosphere of pervasive corruption and the movie captures the feeling of not being able to escape from the worst place on Earth.  Poor Maria spends a good deal of the movie naked and chained to various devices but Rona De Ricci gives such a strong and such a committed performance as Maria that, instead of being offended by the obvious exploitation element of the scenes, you instead find yourself admiring Maria and her strength.

It’s probably not a coincidence that Oliver Reed shows up in the film as a Cardinal because The Pit and the Pendulum, with its portrayal of blood frenzy and hypocrisy, is definitely influenced by Ken Russell’s The Devils.  The imagery is graphic and often disturbing but the most memorable thing about the film is Lance Henriksen’s intense performance as the evil Torquemada.  Henriksen plays Torquemada as being a hateful and self-loathing figure, a man who deals with his own demons by bringing his fury down on the innocent.  It’s a truly frightening villainous performance, one that carries shades of Vincent Price’s excellent performance in The Witchfinder General.

The Pit and the Pendulum is not an easy film to watch and I doubt I’ll watch it a second time.  In the end, it’s a disturbing film but one that definitely leaves an impression.

Lisa Marie’s Grindhouse Trailers: 6 Trailers For The Fourth Tuesday In October


Halloween City by Karl Pfieffer

Since today is Pumpkin Day (yes, they get their own day!), it only makes sense that today’s edition of Lisa Marie’s Favorite Grindhouse trailers should feature just that!

Without further ado, here are today’s pumpkin-centered trailers!  Happy Pumpkin Day, everyone!

  1. Pumpkinhead (1988)

Hey, I reviewed this movie earlier this month!  The monster’s impressive, though I wish his head was a bit more pumpkin-like.  This movie gave Lance Henriksen a rare starring role and we will always be thankful.  Lance is the best!

2. Pumpkinhead II (1994)

Eventually, Pumpkinhead returned.  Consider this proof that you can’t keep a good pumpkin down.

3. Pumpkinhead 3 (2006)

After the first sequel, Pumpkinhead took a 12-year hiatus from appearing in the movies.  It’s rumored that he blew all of his money on cocaine and it was either make a third movie or go to jail for tax fraud.  For whatever reason, he eventually returned in yet another sequel.

4. Pumpkinhead 4 (2007)

To date, this has been the final Pumpinhead movie. Hopefully, Pumpkinhead is doing a better job managing his money and his lifestyle now and he won’t be forced to do a Pumpkinhead 5 just to pay the rent.

5. Pumpkins (2019)

Just when I was getting worried that I might have been too hasty when I decided to devote this edition of Lisa Marie’s Favorite Grindhouse Trailers to movies about pumpkins, I discovered that there literally is a movie called Pumpkins. And here’s the trailer!

6. Trick ‘r’ Treat (2009)

Hey, that kid is dressed like a pumpkin …. kind of. And there are pumpkins in the trailer so, a far as I’m concerned, close enough!

What do you think, Pumpkin Trailer Kitty?

The TSL’s Grindhouse: Pumpkinhead (dir by Stan Winston)


Originally released in 1988, Pumpkinhead has always struck me as being one of those films that more people remember hearing someone else talk about it than have actually sat down and watched.  

I think that’s because it has such a great title.  Pumpkinhead!  That’s not a title that you’re going to forget and it conjures up all sorts of scary images.  If you hear someone mention that title, it stays in your head.  It’s an easy title to remember and it’s also an easy title to turn into a macabre joke.  If, on Halloween night, you and your friends hear a sound in the house, you can always say, “It must be Pumpkinhead!”  Everyone will laugh, regardless of whether they’ve seen the film or not.  It’s kind of like how everyone knows what the Great Pumpkin is, even if they’ve never actually watched the old cartoon.

As for the actual film, it’s a mix of monster horror and hick revenge flick.  It’s one of those movies where a bunch of dumb city kids do something stupid while driving through the country and, as a result, they end up having to deal with a curse and a monster. 

Ed Harley (Lance Henriksen) is a widower who owns a grocery store that is pretty much sitting out in the middle of nowhere.  Seriously, you look at his little store sitting off the side of a country road and you wonder how he makes enough money to feed his family.  Of course, the store’s location isn’t the only problem.  The other problem is that Ed seems to instinctively mistrust the few people who do stop off at the place.  Even if I lived near there, I probably wouldn’t want to shop at that store because I know Ed would glare at me and make me feel like I was doing something wrong.

However, a group of dumbass dirt bikers do stop off at the store.  And then they decide to drive their dirt bikers around the store while another member of the group takes pictures.  Unfortunately, the dirt bikers run over Ed’s son, little Billy.  The dirt bikers flee the scene, heading to their cabin.  Ed meanwhile goes to the local witch and asks her to summon …. PUMPKINHEAD!

After a lengthy ceremony, Pumpkinhead shows up.  Because Pumpkinhead was directed special effects maestro Stan Winston, he’s a very impressive creature.  He looks something like this:

You may notice that Pumpkinhead doesn’t actually have a pumpkin for a head but no matter!  It’s still a good name and when your monster looks like that, he can call himself whatever he wants.

Anyway, Pumpkinhead tracks down and starts to kill the people responsible for the death of Billy.  Unfortunately, it turns out that Ed experiences each murder along with Pumpkinhead and he quickly has a change of heart.  The witch tells him it’s too late.  Pumpkinhead will not stop until everyone’s dead and if Ed tries to interfere, Ed will die as well.

It’s a clever-enough idea, a filmed version of one of those old legends that you occasionally hear about in the country.  It’s a good thing that the monster is really, really scary because his victims are pretty much forgettable.  Some of them feel bad about killing Ed’s son and some of them don’t but it’s hard to keep straight which is which.  They’re just too bland.  As a result, their deaths don’t really generate any sort of emotion, good or bad.  They’re just there to be victims.  The only person your really care about is Ed but that’s mostly because he’s played by Lance Henriksen and Henriksen is one of those actors who can bring almost any character to life, regardless of how thinly-drawn that character may be.  Henriksen has a built-in authenticity.  Since he’s clearly not a product of the Hollywood publicity machine but is instead someone who obviously lived an interesting life before he ever auditioned for his first film, you believe in Henriksen’s performance even when the script betrays him.  You believe that he owns that store, even though the store seems to be in the worst location ever.  When he mourns Billy, you believe it.  When he tries to stop Pumpkinhead, you believe that as well.  What little humanity that there is to be found in the film is almost totally the result of Henriksen’s performance.

So, give it up for Lance Henriksen and give it up for the scariness of Pumpkinhead and also give it up for director Stan Winston, who came up with enough horrific visuals that it almost made up for his apparent lack of interest in the film’s human characters.  Give it up to for a little-known character actress named Florence Schauffer, who is properly creepy as the local witch.  Pumpkinhead is a good film to watch with your friends on Halloween, even if the title monster doesn’t really have a pumpkin for a head.

Film Review: Spirit Riders (dir by Brian T. Jaynes)


One of the main reasons why I love living where I do is because, any time I get in my car, I have a choice to make. I can drive for 20 minutes in one direction and soon find myself in downtown Dallas. Or, I can drive 20 minutes in the opposite direction and find myself out in the country, driving past horse ranches. I’ve always had a weakness for horses, which are not only majestic in appearance but also very loyal in personality.

Considering that, it probably shouldn’t come as a surprise that I’ve always had a weakness for movie about people who learn about responsibility by taking care of a horse. Apparently, I’m not alone in that because there are like hundreds of movies that feature that exact plot. These films always seem to tell the same basics story, i.e. out-of-control teen is sent to a horse ranch and spends the first half of the movie trying to run away and the second half of the movie learning how to ride. And I have to admit that, despite how predictable they may be, I end up enjoying just about everyone of these films that I see.

For example, consider the 2015 film, Spirit Riders. 17 year-old Kacie (Alexandria DeBerry) is a rebellious teen who gets in trouble with the law and who is sentenced to a work-release program at Spirit Riders, an equine therapy camp for disabled and physically challenged young people. At first, she struggle with all of the rules. She wants to smoke. She wants to fight. She wants to sneak off with her boyfriend, who is a total loser despite bearing a slight resemblance to Eric Balfour. She doesn’t want to make friends. She certainly doesn’t want to take care of a horse.

However, she soon meets Rex (Lance Henriksen), who is the owner of the ranch. Rex is tough but compassionate. He’s been around for a while and he’s heard all of the excuses. Rex tells her to stop feeling sorry for herself and to take care of her horse. Rex is stern but it’s obvious that he cares. Rex, in short, is the type of character that Lance Henriksen was born to play. A lesser actor would have just played Rex as being a serious-minded hardass but Henriksen does a good job of projecting the compassion that lurks underneath Rex’s no-nonsense exterior. Henriksen is one of those actors who sometimes seems as if he’ll appear in any film that’s offered to him. I mean, there aren’t many actors who can brag about appearing in everything from Pumpkinhead to Dog Day Afternoon to Near Dark to Spirit Riders to countless direct-to-video actions films. And yet, no matter what the role or the film, Henriksen always gives a good performance. Along with his undeniable physical presence, he just projects a certain integrity, the type that we usually associate with actors from Hollywood’s Golden Age of westerns and war films. Even when he’s playing a villain, you respect him. In Spirit Riders, he’s playing a good man and he makes that compelling.

I don’t want to oversale Spirit Riders, of course. It’s a fairly predictable film, one that will play best with people who already like horses and who can tolerate some occasionally heavy-handed plotting. But Alexandra DeBerry gives a good performance as Kacie and Lance Henriksen turns Rex into a monument to decency. The ranch itself is lovely to look at and so are the horses. It’s a pleasant film, one that’s won’t change the world but which I still enjoyed watching.

Film Review: Falling (dir by Viggo Mortensen)


If you’re one of the many people who watched The Father and thought to yourself, “Good movie but I wonder what it would have been like if every character involved had been thoroughly unlikable and one-dimensional,” Falling might be for you.

I almost felt guilty writing that paragraph because Falling is the directorial debut of actor Viggo Mortensen and Mortensen has been very open about how several members of his family have struggled with dementia. He lost both his mother and his father to dementia and he served as his father’s caretaker during the last year of his life. As Falling is film about a man taking care of his father when the latter develops dementia, it’s easy to see that this film is a very personal one for Mortensen. Unfortunately, as both a director and a screenwriter, Mortensen basically leads his story straight into a dead end.

Lance Henriksen plays Willis Peterson, a bigoted and angry old farmer who is being taken care of by his estranged son, John (Viggo Mortensen) and John’s husband, Eric (Terry Chen). John hopes to find Willis a new and nearby place to live so that he and his sister, Sarah (Laura Linney), can check in on him. Willis is occasionally charming in a irascible old man way but, usually, he’s just abrasive, abusive, angry and a bit of a homophobe. He’s also losing his memory, continually forgetting that his wife is dead and talking about all of the ways that John and Sarah disappointed him when they were teenagers.

The film asks whether or not Willis was always an asshole or if he’s just asking like this because he’s suffering from dementia. That would be an interesting question if not for the fact that the film is also full of heavy-handed flashbacks that reveal that, without any doubt, Willis was always an asshole. The problem is that, once you realize that Willis was an unbearable young parent and an unbearable middle-aged crank, it becomes difficult to care much about him once he becomes an unbearable old man. If The Father showed how dementia changes one’s personality and way of looking at the world, the message of Falling seems to be that terrible things also happen to terrible people. And while that’s a certainly true statement, it doesn’t make for a particularly compelling narrative.

One does have to give Mortensen some credit for giving Lance Henriksen a leading role. Henriksen not only looks like he could conceivably by Viggo Mortensen’s father but he does what he can to suggest that, under all of the bluster and the anger and the hateful words, Willis is ultimately a man who is scared because the world is transforming into one that he’s not capable of understanding. That’s a idea that is present in the film almost solely due to Henriksen’s performance and the few scenes that are genuinely interesting to watch are almost all due to his efforts. There’s no winking at the audience during Willis’s many abrasive moments and Henriksen deserves credit for fearlessly and honestly playing a character that most viewers aren’t going to like.

Unfortunately, the rest of the film doesn’t live up to the promise of Henriksen’s performance. The script often feels repetitive and neither Mortensen nor Linney make much of an impression as Henriksen’s children. (Linney, as happens far too often, feels especially wasted, leaving viewers to wonder what happened to the actress who, long ago, gave such a fierce performance in Mystic River.) The scene where Henriksen meets Linney’s children is especially poorly-written and seems to go on forever. It becomes clear that, as a director, Mortensen has a good visual eye but no idea how to build or maintain narrative momentum with a story that centers on characters who are incapable of moving forward.. One watches the film and admires Mortesen’s intentions but emotionally, the whole production feels remote and overly studied. Falling underwhelms.

Cinemax Friday: Boulevard (1994, directed by Penelope Buitenhuis)


Having been knocked up by her abusive boyfriend, Jennefer (Kari Wuhrer) gives up her baby for adoption and then promptly gets the Hell out of town.  She runs away to the hard streets of Toronto, where she meets and moves in with a prostitute, the worldly Ola (Rae Dawn Chong).  Ola shows Jennefer how to survive in the big city and the two of them bond over how terrible their circumstances are, eventually becoming lovers.  Eventually, in order to make ends meet, Jennefer becomes a prostitute herself.  However, this means dealing with Ola’s sadistic pimp, Hassan (Lou Diamond Phillips), who is the type of creep who likes to practice his golf swing in between beating people to death.  Detective McLaren (Lance Henriksen) wants to take Hassan down but Jennefer knows better than to work with the cops.  Meanwhile, Hassan is growing more unstable and dangerous and Jennefer’s ex-boyfriend, J-Rod (Joel Bissonette), has shown up in town.

Boulevard is an interesting film.  It’s undeniably sleazy and exploitative, with the camera lingering over every sex scene and act of violence.  At the same time, it’s also a film with a conscience.  It’s on the side of the girls on the boulevard and it makes clear that every man who claims to be on their side, with the exception of McLaren, is actually a dangerous pervert.  Jennefer and Ola can only depend on each other.  Kari Wuhrer was rarely cast for her acting ability but she gives a surprisingly good performance in Boulevard and she’s matched every step of the way by Rae Dawn Chong.  Lou Diamond Phillips appears to be having fun getting to play a villainous role.  In fact, he has too much fun and goes so overboard that he sometimes takes you out of the reality of the situation.  Far better is Lance Henriksen, whose seen-it-all persona is used to good effect in Boulevard.

Boulevard is a sleazy film with a heart.

4 Shots From 4 Films: Special Lance Henriksen Edition


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!

Today, Lance Henriksen is 80 years old!  In honor of this day, here are….

4 Shots From 4 Films

Dog Day Afternoon (1975, dir by Sidney Lumet)

Near Dark (1987, dir by Kathryn Bigelow)

Dead Man (1995, dir by Jim Jarmusch)

Mom and Dad (2017, dir by Brian Taylor)