Film Review: A Stranger In The Woods (dir by József Gallai)


“My humor is a bit abstract.”

— Victor Browning (Bill Oberst, Jr.)

“He’s a very strange guy.”

— Edith (Laura Ellen Wilson)

A Stranger In The Woods opens with a car driving into the woods.  The skies are cloudy.  The road is isolated.  It’s unsettling because, other than the driver of the car, there aren’t any other people around.  Other than the road, there are no signs of civilization.  It’s the type of image that causes the viewer to consider just how much we take for granted the idea of interacting with other people and living in a world where our needs are taken care of.  Today, we view anyone who would separate themselves from civilization as being an eccentric.  In the past, though, that was how most people lived.  They lived alone in home that they built for themselves and visitors and strangers were viewed with suspicion.  It’s a way of life that many people had forced upon them from 2020 to 2021 and it led to the anger and societal anxiety that is still shaking the world today.  Living in isolation is not easy for most people in the modern world, which is perhaps why we are so fascinated with people who can actually handle it.

Driving the car is Edith (Laura Ellen Wilson), a 20-something film student who has been given a tip by one of her professors.  There is a man named Victor Browning (Bill Oberst, Jr.) who lives by himself in the woods.  He’s known for being a bit off-key but he is considered to be generally harmless.  He lives in a cabin, spending his time in what appears to be self-imposed exile from the world.  He only occasionally leaves his cabin so he can get supplies.  Victor has agreed to be interviewed by Edith for a student documentary.

The first meeting with Victor is a bit awkward but he soon starts to open up to Edith.  Victor seems to be friendly and polite, even if he does appear to be a bit haunted by things that happened in the past.  Then again, Edith has things in her past that haunt her as well.  However, as Edith’s stay with Victor continues, she starts to notice some odd and eventually disturbing things about Victor and his isolated existence….

A Stranger In The Woods is a found footage film, playing out as a combination of the footage that Edith shot for her documentary and audio recordings of phone calls that she placed to various people.  As a result, we learn about Victor’s secrets along with Edith.  Like Edith, we start the film liking Victor for his shy manners and his seemingly gentle sense of humor and, just like Edith, we are shocked to witness his sudden changes in mood and his seeming reluctance to discuss certain aspects of his life.  Bill Oberst, Jr. gives a performance that keeps you guessing about just who Victor is and what he’s doing out in the woods.  Oberst is sometimes likable and sometimes frightening and he always keeps the audience from getting too complacent while watching the story unfold.  Victor Browning’s name brings to mind such Universal horror icons as Victor Frankenstein and director Tod Browning and, like the characters who appeared in those classic horror films, he is compelling even when we’re not sure what’s going on inside his head.

A Stranger In The Woods is an atmospheric film, one that understands that there’s nothing scarier than being alone in the middle of nowhere in the dark.  Victor is a fascinating character and fans of 70s horror will want to watch for Lynn Lowry’s cameo during the second half of the film.  A Stranger In The Woods is an effectively creepy portrait of a very strange guy.

Oppenheimer Leads The Oscar Nominations!


After all the build-up, the Oscar nominations turned out to be what I imagine most people were expecting.  There’s a lot of worthy nominees but not many surprises.  Greta Gerwig was not nominated for Best Director and Charles Melton was not nominated for Best Supporting Actor.  (I imagine more than a few voters were too creeped out by that particular film to vote for it.)  Oppenheimer leads with 13 nominations.  Godzilla Minus One becomes the first Godzilla film to ever receive a nomination (for Visual Effects).

Here are the nominees:

Best Picture

American Fiction (Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers)
Anatomy of a Fall (Marie-Ange Luciani and David Thion, Producers
Barbie (David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers)
The Holdovers (Mark Johnson, Producer)
Killers of the Flower Moon (Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers)
Maestro (Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers)
Oppenheimer (Emma Thomas, Charles Roven and Christopher Nolan, Producers)
Past Lives (David Hinojosa, Christine Vachon and Pamela Koffler, Producers)
Poor Things (Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers)
The Zone of Interest (James Wilson, Producer)

Best Directing

Justine Triet (Anatomy of a Fall)
Martin Scorsese (Killers of the Flower Moon)
Christopher Nolan (Oppenheimer)
Yorgos Lanthimos (Poor Things)
Jonathan Glazer (The Zone of Interest)

Best Actor in a Leading Role

Bradley Cooper (Maestro)
Colman Domingo (Rustin)
Paul Giamatti (The Holdovers)
Cillian Murphy (Oppenheimer)
Jeffrey Wright (American Fiction)

Best Actress in a Leading Role

Annette Bening (Nyad)
Lily Gladstone (Killers of the Flower Moon)
Sandra Hüller (Anatomy of a Fall)
Carey Mulligan (Maestro)
Emma Stone (Poor Things)

Best Actor in a Supporting Role

Sterling K. Brown (American Fiction)
Robert De Niro (Killers of the Flower Moon)
Robert Downey Jr. (Oppenheimer)
Ryan Gosling (Barbie)
Mark Ruffalo (Poor Things)

Best Actress in a Supporting Role

Emily Blunt (Oppenheimer)
Danielle Brooks (The Color Purple)
America Ferrera (Barbie)
Jodie Foster (Nyad)
Da’Vine Joy Randolph (The Holdovers)

Best Writing (Adapted Screenplay)

American Fiction (Written for the screen by Cord Jefferson)
Barbie (Written by Greta Gerwig & Noah Baumbach)
Oppenheimer (Written for the screen by Christopher Nolan)
Poor Things (Screenplay by Tony McNamara)
The Zone of Interest (Written by Jonathan Glazer)

Best Writing (Original Screenplay)

Anatomy of a Fall (Screenplay by Justine Triet and Arthur Harari
The Holdovers (Written by David Hemingson)
Maestro (Written by Bradley Cooper & Josh Singer)
May December (Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik)
Past Lives (Written by Celine Song)

Best Animated Feature

The Boy and the Heron (Hayao Miyazaki and Toshio Suzuki)
Elemental 
(Peter Sohn and Denise Ream)
Nimona 
(Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary)
Robot Dreams (Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz)
Spider-Man: Across the Spider-Verse (Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal)

Best Cinematography

El Conde (Edward Lachman)
Killers of the Flower Moon (Rodrigo Prieto)
Maestro (Matthew Libatique)
Oppenheimer (Hoyte van Hoytema)
Poor Things (Robbie Ryan)

Best Costume Design

Barbie (Jacqueline Durran)
Killers of the Flower Moon (Jacqueline West)
Napoleon (Janty Yates and Dave Crossman)
Oppenheimer (Ellen Mirojnick)
Poor Things (Holly Waddington)

Best Makeup and Hairstyling

Golda
Maestro
Oppenheimer
Poor Things
Society of the Snow

Best Animated Short Film

Letter to a Pig
Ninety-Five Senses
Our Uniform
Pachyderme
War Is Over! Inspired by the Music of John & Yoko

Best Live-Action Short Film

The After
Invincible
Knight of Fortune
Red, White and Blue
The Wonderful Story of Henry Sugar

Best Original Song

“The Fire Inside” (Flamin’ Hot)
“I’m Just Ken” (Barbie)
“It Never Went Away” (American Symphony)
“Wahzhazhe (A Song For My People)” (Killers of the Flower Moon)
“What Was I Made For?” (Barbie)

Best Original Score

American Fiction (Laura Karpman)
Indiana Jones and the Dial of Destiny (John Williams)
Killers of the Flower Moon (Robbie Robertson)
Oppenheimer (Ludwig Göransson)
Poor Things (Jerskin Fendrix)

Best Documentary Feature Film

Bobi Wine: The People’s President
The Eternal Memory
Four Daughters
To Kill a Tiger
20 Days in Mariupol

Best Documentary Short Film

The ABCs of Book Banning
The Barber of Little Rock
Island in Between
The Last Repair Shop
Nǎi Nai & Wài Pó

Best International Feature Film

Io Capitano (Italy)
Perfect Days (Japan)
Society of the Snow (Spain)
The Teacher’s Lounge (Germany)
The Zone of Interest (United Kingdom)

Best Production Design

Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Poor Things

Best Film Editing

Anatomy of a Fall
The Holdovers
Killers of the Flower Moon
Oppenheimer
Poor Things

Best Production Design

Barbie
Killers of the Flower Moon
Napoleon
Oppenheimer
Poor Things

Best Sound

The Creator
Maestro
Mission: Impossible – Dead Reckoning Part One
Oppenheimer
The Zone of Interest

Best Visual Effects

The Creator
Godzilla: Minus One
Guardians of the Galaxy Vol. 3
Mission: Impossible — Dead Reckoning, Part One
Napoleon

Late Night Retro Television Reviews: CHiPs 1.11 “Name Your Price”


Welcome to Late Night Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing CHiPs, which ran on NBC from 1977 to 1983.  The entire show is currently streaming on Freevee!

This week, Ponch again fails to get rich.

Episode 1.11 “Name Your Price”

(Dir by Ric Rondell, originally aired on December 8th, 1977)

This week’s episode opens on an unusually somber note for CHiPs.  It begins in a cemetery.  A woman (Jaime Lynn Bauer) is dressed in chic funeral black and appears to be attending a service.  But it soon turns out that she’s actually just making sure that everyone is so distracted by mourning that they won’t notice her stealing a Rolls Royce!

It turns out that a Rolls is not quite as easy to steal as she thought and soon, she finds herself being pursued by Ponch and Baker.  It’s a chase that leads from the highway and into the city and, to Ponch and Baker’s shock, they lose sight of the stolen car.

“How does a Rolls Royce vanish!?” Ponch asks, in shock.

Ponch is a bit distracted himself this episode.  He has been accepted as a contestant on a game show called Name Your PriceName Your Price is obviously meant to be The Price Is Right and Ponch spends the majority of the episode memorizing the price tags on appliances.  Unfortunately, Ponch does not memorize the price tag of a motorcycle and therefore, he turns out to be a bit of a bust when he appears on the show.  As Baker and his date sneak out of the studio, Ponch is humiliated as the show’s host wonders how a motorcycle cop could not know how much a motorcycle costs.

Oh, Ponch — will you ever win!?

It’s not all bad for Ponch.  He and Baker pull over a car and Ponch is excited to discover that it’s occupied by the two stars of his favorite soap opera.  (Does Ponch do anything other than watch television?)  And Ponch also gets to help out when a chicken truck is involved in a minor accident and dozens of chickens end up running around the highway.  As usual, the main emphasis of this episode is on the idea of the members of the highway patrol working together and keeping the streets safe for chickens and humans.  Yes, this episode says, the CHiPs do chase car thieves and arrest criminals.  But usually, they’re just taking care of mundane tasks and getting little thanks and little pay.

This episode was entertaining.  I enjoyed looking at the cars that were stolen.  If you’re going to commit a crime, you might as well commit it for a Rolls Royce.  And the ending with the game show was a lot more effective than the typical CHiPs ending.  Ponch has spent the first 11 episodes of this show destroying motorcycles so it’s a nice bit of humor that a motorcycle would destroy his chance to get rich.  That’s karma!

Next week, Baker and Ponch continue to keep L.A. safe!

Lisa Marie’s Oscar Nomination Predictions


The Oscar nominations are due to be announced in a few more hours.  I’m still struggling to get caught up with all of the movies that I need to see before I can post my personal Oscar nominations (expect to see them and all of my “best of 2023 lists” at the end of this month) but I have been following the precursor season and I feel confident about predicting what will be nominated in the major categories.

We’ll find out how correct I am in just a few more hours!

Best Picture

American Fiction

Barbie

The Color Purple

The Holdovers

Killers of the Flower Moon

Oppenheimer

Past Lives

Poor Things

The Zone of Interest

Best Director

Greta Gerwig for Barbie

Yorgos Lanthimos for Poor Things

Christopher Nolan for Oppenheimer

Alexander Payne for The Holdovers

Martin Scorsese for Killers of the Flower Moon

Best Actor

Bradley Cooper in Maestro

Colman Domingo in Rustin

Paul Giamatti in The Holdover

Cillian Murphy in Oppenheimer

Jeffrey Wright in American Fiction

Best Actress

Lily Gladstone in Killers of the Flower Moon

Sandra Huller in Anatomy of a Fall

Greta Lee in Past Lives

Carey Mulligan in Maestro

Emma Stone in Poor Things

Best Supporting Actor

Willem DaFoe in Poor Things

Robert De Niro in Killers of the Flower Moon

Robert Downey, Jr. in Oppenheimer

Ryan Gosling in Barbie

Dominic Sessa in The Holdovers

Best Supporting Actress

Emily Blunt in Oppenheimer

Danielle Brooks in The Color Purple

Penelope Cruz in Ferrari

Jodie Foster in Nyad

Da’Vine Joy Randolph in The Holdovers

Poor Things Wins In Houston!


The Houston Film Critics Society has announced its picks for the best of 2023!  The winners are listed below in bold.

Picture
“American Fiction”
“Are You There God? It’s Me, Margaret.”
“Barbie”
“The Color Purple”
“Godzilla Minus One”
“The Holdovers”
“Killers of the Flower Moon”
“Oppenheimer”
“Past Lives”
“Poor Things”

Director
Alexander Payne, “The Holdovers”
Christopher Nolan, “Oppenheimer”
Greta Gerwig, “Barbie”
Martin Scorsese, “Killers of the Flower Moon”
Yorgos Lanthimos, “Poor Things”

Actor – Leading
Andrew Scott, “All of Us Strangers”
Cillian Murphy, “Oppenheimer”
Jeffrey Wright, “American Fiction”
Leonardo DiCaprio, “Killers of the Flower Moon”
Paul Giamatti, “The Holdovers”

Actress – Leading
Emma Stone, “Poor Things”
Fantasia Barrino, “The Color Purple”
Greta Lee, “Past Lives”
Lily Gladstone, “Killers of the Flower Moon”
Margot Robbie, “Barbie”

Actor – Supporting
Dominic Sessa, “The Holdovers”
Mark Ruffalo, “Poor Things”
Robert De Niro, “Killers of the Flower Moon”
Robert Downey Jr., “Oppenheimer”
Ryan Gosling, “Barbie”

Actress – Supporting
Danielle Brooks, “The Color Purple”
Da’Vine Joy Randolph, “The Holdovers”
Emily Blunt, “Oppenheimer”
Rachel McAdams, “Are You There God? It’s Me, Margaret.”
Rosamund Pike, “Saltburn”

Screenplay
Celine Song, “Past Lives”
Christopher Nolan, Kai Bird and Martin Sherwin, “Oppenheimer”
Cord Jefferson, “American Fiction”
David Hemingson, “The Holdovers”
Greta Gerwig and Noah Baumbach, “Barbie”
Tony McNamara, “Poor Things”

Animated
“The Boy and the Heron”
“Nimona”
“Teenage Mutant Ninja Turtles: Mutant Mayhem”
“Spider-Man: Across the Spider-Verse”
“Robot Dreams”

Cinematography
Hoyte Van Hoytema, “Oppenheimer”
Linus Sandgren, “Saltburn”
Robbie Ryan, “Poor Things”
Rodrigo Prieto, “Barbie”
Rodrigo Prieto, “Killers of the Flower Moon”

Documentary
“20 Days in Mariupol”
“American Symphony”
“Beyond Utopia”
“The Eternal Memory”
“Still: A Michael J. Fox Movie”

Foreign Language
“Anatomy of a Fall”
“Godzilla Minus One”
“Perfect Days”
“Society of the Snow”
“The Zone of Interest”

Score
Robbie Robertson, “Killers of the Flower Moon”
Ludwig Göransson, “Oppenheimer”
Jerskin Fendrix, “Poor Things”
Joe Hisaishi, “The Boy and the Heron”
Daniel Pemberton, “Spider-Man: Across the Spider-Verse”

Song
“I’m Just Ken” from “Barbie”
“Dance the Night” from “Barbie”
“What Was I Made For?” from “Barbie”
“Keep It Movin’ ” from “The Color Purple”
“Meet in the Middle” from “Flora and Son”

Visual Effects
“The Creator”
“Godzilla Minus One”
“Guardians of the Galaxy Vol. 3”
“Mission: Impossible — Dead Reckoning Part One”
“Poor Things”

Stunts
“The Iron Claw”
“Guardians of the Galaxy Vol. 3”
“John Wick: Chapter 4”
“Mission: Impossible — Dead Reckoning Part One”
“Polite Society”

Ensemble
“Barbie”
“Oppenheimer”
“Killers of the Flower Moon”
“The Holdovers”
“The Iron Claw”

Texas Independent Film Award
“Bolivar”
“Breaking the Code”
“Chocolate Lizards”
“I’ll Be There”
“A Town Called Victoria”

Retro Television Reviews: Miami Vice 1.19 “The Home Invaders”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Mondays, I will be reviewing Miami Vice, which ran on NBC from 1984 to 1989.  The entire show is currently streaming on Tubi!

This week, Crockett and Castillo take down some home invaders.  Yes, Crockett and Castillo.  Not Crockett and Tubbs.  Read on to find out why.

Episode 1.19 “The Home Invaders”

(Dir by Abel Ferrara, originally produced by March 15th, 1985)

Always do your research.

Philip Michael Thomas does not appear in this episode of Miami Vice.  At the start of the episode, it’s mentioned that he’s in New York, visiting Valerie Gordon.  It’s a line that sounds like it was written at the spur of the moment and, when I heard it, I assumed that there had been some sort of behind-the-scenes drama between Thomas and the producers.  Fortunately, before I went with that and said something snarky, I actually looked up the reason for Thomas’s absence and I discovered that he was injured performing a stunt in the previous episode.  Thomas missed this episode because he was recovering.  As well, this was the only episode that he missed during the entire run of Miami Vice.

Thomas may be absent but that doesn’t mean that crime is going to take a break in Miami.  A series of violent home invasions lead to Crockett and Castillo getting temporarily assigned to the robbery division.  Crockett is excited to be working under his former boss and mentor, Lt. John Malone (Jack Kehoe).  Castillo quickly realizes that Malone has gotten rusty and that his investigation into the robberies has been sloppy.

This is a moody episode, with the emphasis as much on Crockett’s disillusionment with his old boss as with the efforts to catch the home invaders.  That said, the home invaders are a scary bunch.  Led by Esai Morales and David Patrick Kelly, they are totally ruthless and willing to kill anyone who fails to move quickly enough.  The scenes in which they break into various mansions and threaten the inhabitants are difficult to watch and it definitely captures the trauma of having your personal space invaded and your sense of safety destroyed.

(When I was 17, our house was broken into and, for months, I couldn’t sleep through the night.  Almost every night, I was woken up by what I thought was the sound of someone breaking into my house and I would end up walking through the house in my nightclothes, carrying a golf club for protection.  One night, I nearly hit my sister when she came out of the kitchen with a midnight snack.  It may sound funny now but, at the time, it was terrifying.)

It ends with a shootout that’s violent even by the standards of Miami Vice.  Castillo and Crockett gun down the bad guys and it’s hard not to notice that, while Crockett seems to be clearly upset by the fact that he had to kill a few men, Castillo barely shows any emotion at all.  Castillo is effective because he holds back his feelings about everything.  That’s also why Castillo, and not Crockett, is capable of seeing that Lt. Malone is past his prime.  With the home invaders neutralized, Malone tells Crockett that he’s quitting the force.  His days of being an effective detective are over.  The job and all of the terrible stuff that he deals with on a daily basis has left him burned out and it’s hard not to notice that he and Crockett are the same age.  Fighting crime in Miami takes a toll.

This episode was directed by Abel Ferrara, who keeps the action moving quickly and who fills the screen with ennui-drenched images of people who are not sure whether they’re making any difference at all.  This is an effective episode, even without the presence of Ricardo Tubbs.

Scenes That I Love: Everything’s Alright from Norman Jewison’s Jesus Christ Superstar


In memory of the late Norman Jewison, today scene that I love comes from my favorite film to have been directed by him.

In this scene from 1973’s Jesus Christ Superstar, Mary Magdalene (Yvonne Elliman) attempts to comfort Jesus (Ted Neeley) while Judas (Carl Anderson) tries to pull Jesus away from her.  This scene showcases both Elliman’s angelic voice and Anderson’s ferocious intensity as Mary and Judas present two very different sides of a spiritual journey.

4 Shots From 4 Films: Special Norman Jewison Edition


4 (or more) Shots From 4 (or more) Films is just what it says it is, 4 (or more) shots from 4 (or more) of our favorite films. As opposed to the reviews and recaps that we usually post, 4 (or more) Shots From 4 (or more) Films lets the visuals do the talking.

Rest in Peace, Norman Jewison, a director who believed in the power of cinema to change the world.

4 Shots From 4 Norman Jewison Films

In The Heat of the Night (1967, dir by Norman Jewison, DP: Haskell Wexler)

Fiddler on the Roof (1971, dir by Norman Jewison, DP: Oswald Morris)

Jesus Christ Superstar (1973, dir by Norman Jewison, DP; Douglas Slocombe)

The Hurricane (1999. dir by Norman Jewison, DP: Roger Deakins)

Monday Live Tweet Alert: Join us for Godzilla 1985 and The Bounty Hunter!


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

Tonight, for #MondayActionMovie, the film will be Godzilla 1985, selected and hosted by Sweet Emmy Cat!

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  We will be watching 2010’s The Bounty Hunter!

It should make for a night of fun viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto Mastodon, pull up Godzilla 1985 on YouTube, start the movie at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to Twitter and Prime, start The Bounty Hunter, and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.