Movie Loner

It’s high time I pay tribute to one of my favorite actors. Action, comedy, drama, this guy can do it all. Versatile and steady, Kurt Russell has been kicking ass in Hollywood since he was 6 years old. His impressive list of credits includes Escape from New York, The Thing, Silkwood, Big Trouble in Little China, Backdraft, and Tombstone. One of his first big screen successes was Used Cars, a legit gut-buster set in the shady world of automobile sales. Grab your popcorn and enjoy the ribald antics of this sleazy gang of shysters who sell cars for a living.

Russell plays Rudy Russo, a hack used car salesman who dreams of becoming a state Senator. To buy his way into the race Rudy needs $10,000, so he approaches his boss Luke Fuchs. Luke agrees to loan Rudy the cash, but Luke’s untimely death at the hands of his brother Roy leaves Rudy in a lurch. Roy, who owns the competing car lot across the street, needs the deed to Luke’s property to take advantage of a new interstate highway being constructed. To ensure Roy doesn’t take over, Rudy and his car lot cronies conceal Luke’s condition.

Rudy still lacks funds for his Senatorial run so he and his pals devise a series of schemes to drum up business. Illegal television commercials, topless women, and a dog who plays dead are just a few of the methods utilized. The unexpected arrival of Luke’s daughter Barbara tosses a monkey wrench in Rudy’s plans. Rudy falls for Barbara but can’t bring himself to tell the truth about her father. Meanwhile, a suspicious Roy amps up his efforts to take control of his brother’s land. Rudy’s dishonest behavior soon lands himself and the lot in a heap of trouble. In order to save the business and his relationship with Barbara, Rudy must lead a mad-dash of 250 cars back to the lot before a judge turns it over to the devious Roy.

Before he became one of Hollywood’s top whiz-kids Robert Zemeckis directed and co-wrote this comedy classic. In the tradition of Animal House and Caddyshack, Used Cars fires an unabashed shotgun blast at one of America’s most duplicitous professions. Gratuitous nudity, foul language and a bevy of politically incorrect references place this joyous romp among the best comedies I’ve ever seen. Russell is perfect playing the morally challenged Rudy and he gets stellar support from Jack Warden, Gerrit Graham, Frank McRae, and a beagle named Peanuts. If you missed out on Used Cars until now do yourself a favor and see this raucous laugher.

The trailer for Used Cars:

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I love a good Hollywood mystery: A Tinseltown puzzler, a La La Land conundrum, a Glitz and Glam whodunit. There’s something fascinating about movies that shine the spotlight on the movie-making industry, especially when the subject is murder. Films like Sunset Boulevard and Body Double turn the lens around to reveal the silly and tragic elements of Hollyweird. Screenwriter Shane Black, the guy who wrote the Lethal Weapon franchise, makes his directorial debut with this crafty noir parody starring two of Hollywood’s top thespians, Val Kilmer and Robert Downey, Jr.

While eluding the NYPD petty thief Harry Lockhart (Downey Jr.) ducks into a movie audition which scores him a ticket to L.A. for a screen test to play a detective. To help research the role, Harry is introduced to Gay Perry (Kilmer), an ace private eye who may or may not be gay. Harry’s big Hollywood adventure also reintroduces him to his childhood crush, would-be actress Harmony Lane (Michelle Monaghan). When not fawning over the lovely Harmony, Harry takes gumshoe lessons from Gay Perry. Their nights of sleuthing eventually land the two smack dab in the middle of a murder case involving the body of a young girl found in a lake.

Things get harrier for Harry after Harmony’s little sister ends up dead. Distraught and desperate for help, Harmony enlists Harry’s neophytic investigative skills to solve her sister’s death. Meanwhile, Harry and Perry uncover the identity of the girl in the lake and stumble on a connection to the daughter of ex-actor/mogul Harlan Dexter. Along the way our reluctant hero Harry meets some unfortunate circumstances that include losing a finger, shooting a vicious thug, and getting electrodes attached to his nether-regions. Oh yeah, he also falls in love with Harmony.

Kiss Kiss, Bang Bang is just plain fun to watch. Shane Black does an adequate job directing, but it’s his proficiency as an accomplished screenwriter that shines through. Fresh characters, smart dialogue and an abundance of inside jokes fill a clever script that pays homage to movie classics like Lady in the Lake, My Friend Flicka, The Natural and RoboCop. Downey Jr. and Kilmer are hilarious together playing unlikely partners who clash at every turn. Known more for their dramatic work it’s a pleasure to observe these guys nail comedic performances. Kiss Kiss, Bang Bang requires undivided attention but I promise you won’t be disappointed.

A scene from Kiss Kiss, Bang Bang:

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I offer this as a companion piece to my review of Indochine. Vietnam in the 1950s was, to the say the least, a powder keg of political turmoil. The French were engaged in a desperate fight to maintain their colonial rule against the burgeoning Communist influence. Caught in the middle was an innocent populace unaffiliated with either side. Then there was America, not confident in the French’s staying power and vehemently opposed to Communist rule. America’s initial role was both subversive and coercive, but ultimately would become one of history’s biggest political blunders. Too bad we can’t learn from our mistakes.

Saigon, 1952, British journalist Thomas Fowler (Michael Caine) has built himself a comfy little existence, complete with a beautiful young mistress named Phuong. However, a lack of relevant stories means Thomas’s days in Saigon are numbered. Then Thomas meets young American Alden Pyle (Brendan Fraser), a mysterious fellow supplying economic aid to the embattled Vietnamese people. The two men form a quick bond, but their budding friendship is tested once Alden is introduced to the enchanting Phuong. Alden falls hard, preying upon Thomas’s insecurities as they both vie for Phuong’s affections.

Romantic conflict gives way to military conflict with the French vs. Communist war escalating. Thomas and his local informant Hinh begin to craft hard-hitting journalism which provides Thomas and extended stay. As Thomas digs he discovers a third-party ascending with covert American support. Violence increases and Alden’s identity is brought into question. Alden’s association with a CIA presence as well as his vigorous pursuit of Phuong leads Thomas to become untrusting of his new friend. Thomas’s little world starts to collapse, sending him into a tailspin that ends in betrayal and murder.

Director Phillip Noyce weaves an incendiary plot based on Graham Greene’s acclaimed novel. A tumultuous love triangle morphs into an intriguing chronicle of America’s early involvement in Vietnam. Eventually, everyone must choose a side and deal with the consequences which are often dire. Michael Caine hits another home run playing the disillusioned, forsaken Thomas Fowler. High praise for Brendan Fraser, an underrated actor, for his convincing portrayal of the enigmatic Pyle. The Quiet American is a compelling look at the complex puzzle that was Vietnam in the 1950s.

The trailer for The Quiet American:

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Ever watch a movie and afterwards find yourself muttering, “What the hell was that?” Personally, I love when that happens. Some of the coolest films I’ve seen are head-scratchers. Slacker, Donnie Darko, and David Lynch’s Lost Highway and Mulholland Drive have all baffled me despite repeated viewings. Movie puzzles that force you to exercise your brain are often misunderstood and dismissed due to their ambiguities. Well, not by the Movie Loner. Add The Nines to the list of films that will leave you with more questions than answers.

Story 1: The Prisoner. Ryan Reynolds plays Gary, a hunky young TV star who just got dumped by his girlfriend. His reaction is to burn down her house then delve into a day-long booze and crack bender that ends with his incarceration. Bailed out by bubbly publicist Margaret (Melissa McCarthy), Gary is placed under house arrest at the abode of one of Margaret’s friends. Gary’s confinement soon gets weird, complete with strange noises and hallucinations. Making things odder is Gary’s new neighbor Sarah (Hope Davis) whose over-friendly behavior hints at her knowing him. The chapter concludes with Margaret telling Gary he’s not who he thinks. She reveals he is a 9, a higher being that can destroy existence with a single thought.

Story 2: Reality Television. Episode two has Reynolds playing Gavin Taylor, a TV writer attempting to launch his own series while being followed by a reality TV crew. Gavin casts his best pal Melissa (McCarthy), an overweight actress, in the starring role. Network exec Susan (Davis) loves the show but tells Gavin that Melissa will be a tough sell. Gavin’s loyalty to his friend collides with his desire for success. His decision proves costly both personally and professionally. Once again the number 9 appears bringing into question Gavin’s true identity.

Story 3: Knowing. The final segment puts Reynolds in the role of Gabriel, a video-game creator married to Mary (McCarthy) with a daughter named Noelle. After a hike in the hills, a dead car battery leaves the family stranded. With no cell phone reception, Gabriel runs up to the highway for help. He reaches the road and meets Seirra (Davis), who reluctantly decides to lead Gabriel to her car. An innocent walk in the woods turns bizarre as Sierra confronts Gabriel and tells him it’s time to leave this world and return home.

Did you get all that? Probably not, but The Nines isn’t easy to break down. Writer/director John August creates a metaphysical journey chock-full of religious connotations, from names like Gabriel and Mary, to the concept of a god-like being. Basically, the movie poses this idea: What if God lived as a human in the world HE created? It then asks this question: Is God real, or is HE a product of human imagination? Weighty stuff for sure, but well worth exploring. Reynolds, Davis, and McCarthy deserve high praise for portraying multiple characters whom to varying degrees are all interconnected. The Nines will stay with you awhile even if you fail to completely decipher all its mysteries.

The trailer for The Nines:

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Are you satisfied with your life? Ever wonder if you had taken a different direction if things would be better? What if you hadn’t left that job offer on the table, or ended a certain relationship? What if you had pursued your dreams a little while longer before settling for the ordinary? Would you be happier? Or is living a normal life the best it ever gets? To ponder these essential questions let’s take a trip to the quaint suburban streets of a place called Metroland.

Christian Bale plays Chris, husband to Marion (Emily Watson), father to newborn daughter Amy, who calls the London suburb of Eastwood home circa 1977. His predictable existence as a young professional is thrown for a loop when his oldest pal Toni (Lee Ross) blows back into town. Toni’s free-spirited and reckless nature awakens Chris’s wildside, leading Chris to assess his role as husband/father. Toni’s presence also stirs memories in Chris of his idealistic days in Paris when he dreamed of being a photographer.

Paris also revives Chris’s feelings for his first girlfriend, the sexy Annick, who represented his first real sexual conquest. Toni’s constant prodding adds to Chris’s frustrations over his unrequited ambitions and puts a strain on his marriage to Marion. His early-thirties crisis pushes him to the brink of infidelity and forces him to choose between a life of imprudent behavior or the responsibilities of family. Leaving Eastwood proves difficult because it’s the one place Chris has always been able to call home.

Metroland is one of those movies that easily gets overlooked. It’s not heavy on plot but does serve as an interesting character study. Bale, who is compiling an impressive body-of-work, is excellent playing Chris from age 16-30, effectively capturing a string of traits from teenage naivete to adult trepidation. Watson also stands out as the understanding Marion, and Lee Ross steals scenes as the indifferent Toni, who is stuck in a state of arrested development. I think we’ve all evaluated ourselves at one time or another which makes Metroland a film everyone can relate to.

The trailer for Metroland:

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The 1980s catches hell for being a shitty decade for movies. Hard to argue the point after notorious bombs like Heaven’s Gate and Ishtar left a foul stench permeating studio backlots. Not to mention four of the worst Best Picture Winners in ten years with the likes of Ordinary People, Chariots of Fire, Driving Miss Daisy, and Dances With Wolves. Alright, so the 80s sucked. However, a lot of quality flicks by great directors went unnoticed without reason. William Friedkin’s To Live and Die in L.A. is one such film. Violent and provocative it stands as one of the decade’s best crime thrillers.

U.S. Treasury Agent Richard Chance (William Peterson) just lost his partner at the hands of elusive counterfeiter Rick Masters (Willem Dafoe). Chance, along with new partner John Vukovich, embark on an obsessive mission to bring down Masters. A distraught Chance eschews procedure and will stop at nothing to exact vengeance. His reckless behavior causes tension with Vukovich, but Chance’s experience and charisma are enough to convince his reluctant partner to join him on a path toward personal and professional destruction.

Chance and Vukovich go undercover to get close to Masters. They set up a deal but need $50,000 to buy in. Unable to secure cash from the Agency Chance devises a scheme to rob a drug mule. A simple plan implodes, leaving the drug mule dead, and Chance and Vukovich racing the wrong way down the L.A. freeway with armed gunmen in chase. Narrowly escaping with the 50K the duo secure a meeting with Masters to purchase funny money. A late night rendezvous leads to a bloody and shocking climax.

No one gets out of this movie alive or unscathed. Questions of morality are aplenty as the line between “good” and “bad” is constantly crossed. Everyone breaks the rules, everyone is in it for themselves. I can’t remember seeing a more engaging group of dishonest scumbags in one film, except maybe Pulp Fiction. William Peterson carries the story as the driven, arrogant Chance and Willem Dafoe provides a chilling turn as the serpentine Rick Masters. Friedkin never takes his foot off the gas pushing the action-filled plot forward, highlighted by an intense car chase rivaling the one from his masterful The French Connection. To Live and Die in L.A. belongs on the list of great 80s cop movies alongside 48 HRS., Year of the Dragon, and Lethal Weapon.

The trailer for To Live and Die in L.A.:

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I’ve always been an Ang Lee fan. The Ice Storm is one of my favorite movies and Crouching Tiger, Hidden Dragon is filmmaking at its finest. I’ll forgive him for the overblown misfire that was Hulk, but overall the guy has proven himself time and time again exploring different genres in the process. How Lust, Caution went largely ignored by American audiences is still a mystery. Too bad because it was easily one of last year’s best films.

Hong Kong, 1938. Shy student Wong Chia Chi joins an acting troupe led by Kuang Yu Min, a budding revolutionist who is vehemently opposed to the WWII Japanese occupation of China. Patriotic plays lead to Kuang and his thespian charges embroiled in a plot to assassinate Japanese sympathizer Mr. Yee. Wong Chia Chi adopts the persona of the married Mrs. Mak befriending Mrs. Yee in an attempt to get closer to Mr. Yee. After numerous Mahjong sessions at the Yee home, Mr. Yee takes a keen interest in Mrs. Mak, but a hinted affair is never realized after the Yees abruptly relocate to Shanghai.

Shanghai, 1942. Four years pass and Wong Chai Chi is back in school and living with her aunt. A reunion with Kuang, who is now a player in the anti-Japanese movement, again places Wong in a dangerous spygame to entrap the elusive Mr. Yee. Resurrecting her Mrs. Mak identity, Wong soon begins a torrid affair with Yee. Aggressive sexual encounters draw the two together as Mrs. Mak accepts the role of mistress. Her duties to country become clouded once her feelings for Yee strengthen. Lust turns to love, and Mak/Wong is forced to choose between her loyalty to Kuang or her passion for Yee.

Tony Leung, who I’ve lauded repeatedly on these pages, takes a welcome departure from the brooding, romantic characters he usually plays and turns in a phenomenal performance as the cold-blooded Mr. Yee. But this film is all about Wei Tang, whose portrayal of Wong/Mak is a revelation. This was Wie Tang’s acting debut and if it’s any indication of her talent she has a long career ahead of her. Ang Lee continues to impress bouncing from American to native Taiwan cinema. Lust, Caution secures his rank among today’s top filmmakers.

A scene from Lust, Caution:

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Crime doesn’t pay. Who hasn’t heard this before? Still thousands of people every year think they can dupe the system and walk away with a nice cool sum that will solve all of their problems. They’ll spend countless hours trying to justify it to themselves. Nobody will get hurt. It’s a simple job. Is it, really? If you’re thinking about pulling off the perfect robbery or scam do yourself a favor and watch Before the Devil Knows You’re Dead. It will scare you straight.

Philip Seymour Hoffman plays Andy Hanson, a schlub payroll manager with a bored wife and nasty drug habit. Good ‘ol Andy has been embezzling money from his firm and he’s about to get pinched. He needs cash fast so he concocts a scheme to rob his parents suburban jewelry store. To assist in this “victimless crime” Andy enlists his meek little bro Hank (Ethan Hawke), who has financial woes of his own. Andy has it all figured out. All Hank has do is commit the robbery and it’s smooth sailing from there.

Of course, nothing goes as planned. Hank decides he’s too chicken to do it alone so he brings along a friend who happens to bring a gun. The friend is killed, and Andy and Hank’s mother, who wasn’t supposed to be at the store, ends up in the hospital with a gunshot. The brothers’ foolproof plot slowly, and painfully unravels. Guilt and paranoia seep in as Andy and Hank feebly attempt to keep it together. Meanwhile, their heartbroken father Charles (Albert Finney) seeks answers and justice.

This is a tough movie to watch. First-time screenwriter Kelly Masterson weaves a tragic, compelling story that gets bleaker as it progresses. The great director Sidney Lumet employs flashbacks to reveal backstory to this agonizing criminal tale. He provides the audience no glimmer of hope, or chance of redemption for his characters. They are trapped by their own missteps and can’t escape their deserved fates. Before the Devil Knows You’re Dead is far from the “Feel good movie of the year” but its precise execution and brilliant cast make it worth seeing.

The trailer for Before the Devil Knows You’re Dead:

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