Movie Loner

I’m not sure why I find boot-camp movies so intriguing. Maybe it’s watching human beings endure trials I know I couldn’t handle. Allowing myself to be mentally and physically educated into thinking and behaving under a strict code of conduct quite frankly scares the shit out of me. I’ve always wondered how I would act given those circumstances. Would I give-in to their will, or resist? I do know that it takes a unique individual to become a soldier, especially during war times. Full Metal Jacket, An Officer and a Gentleman, and Jarhead are three different types of films that deconstruct the boot-camp experience. This list should also include Tigerland, an edgy low-budget drama set in 1971 Louisiana at the height of the Vietnam War.

Colin Farell plays Roland Bozz, a smart-ass Army recruit who prefers time spent in the stockade rather than the barracks. He is a conscientious objector who believes the military is no place for any man, let alone himself. Educated, charismatic and disobedient, Bozz relishes his role as outcast. His only real friend is Pvt. Jim Paxton, a wannabe author who gave up college to volunteer for military service. Paxton can see through Bozz’s careless exterior to the scared little boy who dwells inside.

But Bozz is much more willing to help others than himself and it’s this quality that draws the ire of his superior officers.  He moves to the beat of his own drum, much to the chagrin of some of his platoon mates, in particular the mentally unstable Pvt. Wilson who makes it his mission to put Bozz in his place. Matters escalate once the recruits enter Tigerland, the mock Vietnam training ground designed to push soldiers to the brink. To survive Tigerland, Bozz, Wilson and Paxton must defeat not only the elements, but also each other.

Director Joel Schumacher chose a bare bones style for Tigerland and it fits to a tee. Shot on Super 16mm with hand-held cameras, the film adopts a docudrama feel, encapsulating the gritty nature of the intense, often brutal story. To be a soldier means to be a killer. It’s this moral dilemma that challenges every young recruit. Bozz refuses to accept his lot; for him being human means being free, and giving in to an institution designed to strip away humanity would not be true to his nature. He refuses to believe in what the Army represents, so he martyrs himself to save others. His behavior at first glance could be confused for selfishness, but in reality it’s purely selfless. Bozz, like any good hero, protects the weak and those incapable of fighting the system. His relentless defiance to authority is both admirable and reckless. But that’s Bozz: a walking dichotomy who, like war, is confusing and unpredictable.

This film put Colin Farell on the map. His innate rough-n-tumble charm was perfect for the character of Bozz. It’s easy to see why the young actor garnered so much positive reaction for his performance. True “bad boys” are hard to find in Hollywood these days, so Farell fills a void. His style is very naturalistic and fearless. Bozz is not supposed to be a typical tough-guy with all the answers, in fact he’s just the opposite; he’s human and therefore feels human emotions. Credit screenwriters Ross Klaven and Michael McGruther for crafting a multi-layered, conflicted character. Tigerland is proof that strong acting and a well-conceived story can shine a big spotlight on a small movie.

The trailer for Tigerland:

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John Travolta is one of those movie stars who every once in a while will surprise you with not only his choice of roles, but also his performance. It’s amazing the same guy who starred in drivel like Shout, The Experts, Battlefield Earth, and Swordfish has been involved with such seminal films as Carrie, Saturday Night Fever, Grease and Pulp Fiction. It has been a feast or famine career for Johnny, that’s for certain. But it’s his smaller projects, the ones that go relatively unseen, that have always peaked my interest. One such title is A Love Song for Bobby Long, a thoughtful drama set in the majestic city of New Orleans.

After the death of her estranged mother, independent teen Purcy Will (Scarlett Johannson) returns to her childhood home in New Orleans. Upon arriving at her mother’s ramshackle house, Purcy finds two squatters have taken up residence. One is ex literature professor Bobby Long (Travolta), a curmudgeonly drunk with a smooth southern drawl. The other is Bobby’s protege, Lawson Pines, a brooding writer who prefers a bottle over a typewriter. With no place to go, Purcy moves in, much to the chagrin of a stubborn Bobby. Despite differences, the three make a home together. As Purcy, Bobby and Lawson draw closer to one another, long kept secrets are revealed. Three intertwined lives reach a crossroads. Each must leave behind a tragic past and allow old wounds to heal in order to begin anew.

Director/screenwriter Shainee Gabel crafts a multi-layered story about three lost souls haunted by the ghosts of past mistakes. The crumbling house serves as a metaphor for the broken characters. By fixing the house together, Purcy, Bobby and Lawson are in reality fixing themselves. However, a fresh coat of paint is a cosmetic repair; it can cover-up the outside but can’t mend the inside. To free themselves from self-imposed prisons they must learn to accept, forgive and love. Fear prevents them from advancing: fear of failure, fear of success, fear of the unknown. Pastel images of a serene pre-Katrina gulf coast provide a welcome respite from the drama. In addition, a toe-tapping soundtrack consisting of blues and jazz enhances the Big Easy atmosphere.

Travolta delivers one of his finest performances playing the charming, tortured Bobby Long. He spins boyhood tales, quotes the great authors, and lives a life of whimsy, never allowing his personal demons to surface. I’ve never been a fan of Scarlet Johansson’s acting, but her transformation from headstrong little girl to responsible young woman is pleasing. The real find is Gabriel Macht as Lawson. If Bobby is the id, Purcy the ego, then Lawson is the superego. He is a leash to Bobby and a mediator between Bobby and Purcy. Lawson’s thick beard hides a bounty of hurt, but it’s his good-nature that attracts Purcy and keeps Bobby sane. Characters with depth and an intriguing script that avoids being overwrought makes A Love Song for Bobby Long a sleeper of a movie. See it if for no other reason than watching John Travolta be an actor instead of a movie star.

The trailer for A Love Song for Bobby Long:

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I’ve had this blog for about ten months so it’s about time I express my admiration for Steven Soderbergh. Sex, Lies and Videotape is one of my favorite films. It’s a major reason why I decided to attend film school. Soderbergh’s meteoric rise from indie it-kid to A-list Director has been nothing short of extraordinary. He doesn’t always hit a homerun but he constantly swings for the fences. King of the Hill, Out of Sight, Traffic and Ocean’s 11 all cleared the center-field fences while Kafka, Full-Frontal, Solaris and Bubble were three-pitch strikeouts. The beauty of Soderbergh is his willingness to vacillate between smaller, experimental projects and high-profile studio gigs. One of his lesser-known movies is The Limey, a compact vengeance drama conveyed in Soderbergh’s signature style.

After serving a nine year prison stint an old school British gangster named Wilson (Terence Stamp) travels to Los Angeles to investigate the mysterious circumstances surrounding his daughter Jenny’s death. Aided by Eduardo, a reformed ex-con, Wilson’s inquiries lead to slick music producer Terry Valentine (Peter Fonda), Jenny’s live-in boyfriend. Wilson wastes little time tracking down Valentine, but his advances are blocked by Valentine’s right-hand-man Avery, a shady fixer who will resort to anything to protect Valentine’s interests. Not deterred, Wilson declares war on Valentine until the score is settled.

As Wilson continues to probe Jenny’s life he meets Elaine, a Hollywood voice coach who helps fill in the gaps about Jenny’s last days. Wilson shares his memories of Jenny with Elaine and expresses regret for being an absentee father. Further complicating matters for Wilson are two wacko hitmen and a group of rouge DEA Agents. A nervous Valentine rounds up his cronies and heads for Big Sur to hideout at his beach house. Wilson, Eduardo and Elaine follow in close pursuit. Avery and his hired guns lie in wait anticipating Wilson’s arrival. Driven by vengeance, Wilson storms the house to confront Valentine.

Soderbergh is one of the true auteurs working in film today. He deftly applies flashbacks and flash-forwards to reveal backstory and plot-points. The inclusion of footage from the 1967 film Poor Cow, starring a young Terence Stamp, adds authentic flavor to Wilson’s criminal past. Wilson’s honest reflections on his wayward youth deepen his character and offer poignant insight into a troubled life. Soderbergh’s Directing skills are put on display, in particular his utilization of overlapping dialogue to bridge scenes together. This subtle technique smoothly advances the plot by tying together story arcs and relationships between characters. Sex, Lies and Videotape and Out of Sight both employ similar traits. Soderbergh didn’t invent this approach but it has become a staple in his methodology.

The cast of The Limey is a good one. Stamp is perfect playing an embittered rough-and-tumble bloke who won’t rest until his wrath is satisfied. Peter Fonda also stands out; his portrayal of the sleazy Valentine oozes desperation and cowardice. Solid additional support comes from Luis Guzman, Lesley Ann Warren, Barry Newman and Nicky Katt. Lem Dobbs’ tightly-written script never sways from the central theme. It’s a precise character study of a career criminal seeking not only vengeance but redemption. Wilson is a violent man, but he doesn’t hide from his mistakes and failures. The Limey was inexplicably released in only 100 theaters back in 1999. It deserved much, much better. If you’re a fan of the genre, pick it up on DVD.

The trailer for The Limey:

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Recognize the name Randal Kleiser? He’s the guy who directed Grease and The Blue Lagoon. Two well-known movies from 1978 and 1980 respectively, responsible for introducing audiences to John Travolta and Brooke Shields. Grease is widely considered the best modern-day musical, while The Blue Lagoon has been called one of the more ridiculous shmaltz-fests ever put to celluloid. Although, the latter does feature a young Shields gallivanting naked on a beach. Kleiser’s next film would be Summer Lovers, a not-so-ordinary romance set in the picturesque Greek Islands.

Peter Gallagher and Daryl Hannah play Michael and Cathy, a post-graduate couple summer vacationing in Greece. Settling in at a white-stone villa overlooking the Mediterranean, the young lovers soak-up the sun and swim the warm blue seas. Michael, a structured rich-boy, adopts the carefree attitude of the locals and looks to spread his wings. Cathy, a sheltered nice girl, spends her days photographing exotic locales. Scores of beautiful men and women flood the nude beaches which has a profound effect on both Michael and Cathy. Michael’s wandering eye soon catches the gaze of a sexy French archaeologist named Lina. A rendezvous in a remote grotto leads to an affair, compromising Michael’s relationship with Cathy.

A guilty Michael tells Cathy about Lina, confessing his desire to grow sexually. Cathy is less than thrilled, but her attempts at retribution with a local man fall short. Despite her anger she can’t go through with it. Instead, Cathy elects to confront Lina face-to-face. Lina explains she isn’t seeking commitment and manages to start a friendship with Cathy. Two soon turns into three as Michael, Cathy and Lina become attached at the hips. They eat, dance, sunbathe, swim and eventually sleep together. An alternative relationship forms once Lina moves into the villa. The trio put aside petty jealousies and adopt a loving communal lifestyle. As summer wanes Lina becomes distant, aware that Michael and Cathy will soon be leaving. Will their happiness endure or will life’s barriers bring it to an end?

Writer/Director Kleiser introduces some intriguing themes throughout the story. The fun loving, fearless attitude of a pre-AIDS world is refreshing to see, but in hindsight it’s somewhat troubling considering what would surface a few years later. The idea of engaging in sex with multiple partners without dangerous consequences was commonplace back in 1982. Unknowingly, Kleiser documented one of the last periods of free love in all its glory. The characters’ menage-a-trois arrangement is certainly radical for the time. Pornography entered the mainstream in the mid to late 70s and pulled back a curtain, but the notion of three people living a bacchanalian existence had to be shocking to audiences. Credit Kleiser for painting their relationship as cheerful and innocent, rather than dirty or profane. The film would gross close to $5 million, which for an R-rated title in 1982 isn’t bad, so people weren’t sacred off by its explicit ideas and imagery.

Summer Lovers is one of those films you catch late-night and can’t switch off. I’ll be honest, not to mention superficial, the sight of Daryl Hannah, Valerie Quennessen (Lina) and countless other beauties nude is the main reason I kept watching. That aside, the film is highly entertaining and groundbreaking. Hannah and Gallagher seem to relish their roles and why shouldn’t they? Filming in the Greek isles surrounded by naked bodies can’t be all that bad. The real find here though is Quennessen, who plays the sensuous Lina. Her eyes convey a multitude of emotions. Sadly, the actress was killed in an auto accident in 1989, cutting short a promising life and career. Randal Kleiser is far from a brilliant director but he deserves praise for crafting a gorgeous-looking, uninhibited film that took me by surprise. Like anyone, I dig a good surprise.

The trailer for Summer Lovers:

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Shocktober wouldn’t be complete without a haunted house movie. Creaking doors, mysterious footsteps, ghostly apparitions are all staples of this sub-genre of horror. It’s very easy to mess up these kinds of flicks. Endure the awful House on Haunted Hill series and you’ll know what I mean. One of the best haunted house films isn’t even classified as horror, but rather science-fiction. Alien is about seven people trapped in a confined space, in this case a spaceship, with a strange being that goes largely unseen. Dead Birds isn’t in the class of Alien, but it is a damn scary story that was ignored a few years back.

In 1863, a gang of former confederate soldiers pulls off a bloody bank heist. Carrying a booty of gold the robbers stop at an abandoned Alabama plantation to spend the night before crossing the border into Mexico. The group of six take refuge inside the house to wait out an approaching thunderstorm. The leader of the pack, William, retires to an upstairs bedroom with gal pal Annabelle, while the rest of the crew play cards and swap tales. Things take an eerie turn after one of the men discovers strange dog-like footprints in one of the rooms. Shortly after another of the gang disappears while putting the horses into the barn. As the storm nears a frightening force grips the house and all its residents.

The odd goings-ons make William question his trust of the others. He’s determined to keep the gold safe from greedy hands. Meanwhile, visions of sickly children and bound slave girls begin to haunt Annabelle and the rest. The visions reveal a ghastly past and make the gang realize it would be prudent to leave this forsaken place. The longer they stay the more real the sightings become. Something horrific is stalking the robbers one by one. Will they escape in time or will they succumb to the terrifying entity that permeates this desolate estate?

The Civil War setting makes this film more compelling. I’m not even sure why, but if it took place in present day I don’t think it would work. The location and set design is fantastic. A creepy dwelling is integral in a haunted house movie and the plantation chosen meets that criteria. The creature effects are solid, even though they are directly borrowed from The Ring and The Grudge. A credible cast features Henry Thomas, Patrick Fugit, Nicki Aycox and Isaiah Washington. Dead Birds is perfect viewing for a rainy autumn night. It won’t cause you to lose any sleep but it has enough scares to make the hair on your arms stand at attention the next time your bedroom door closes by itself.

The trailer for Dead Birds:

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They say freedom isn’t free. This may be true, but is there too high a price to pay for said freedom? How far do we go to protect our own interests? Is it right to sacrifice humanity? Do we toss morals aside in the name of national security? In our dogged pursuit to eliminate potential threats, are we becoming the thing we set out to destroy? There are no easy answers to these questions. Both sides of this heated issue vehemently defend their position. No matter which side you fall on watching Rendition will open your mind to the pitfalls of living in a constant state of fear.

A terrorist attack in a North African city leaves a CIA operative dead. Swift response from the U.S. government leads to Egyptian born chemical engineer Anwar El-Ibrahimi being covertly abducted on his way back into the states. Evidence links Anwar to a leading terrorist suspect. Anwar’s American wife Isabella becomes suspicious and seeks help from a college friend who works for a Senator. While Isabella desperately searches for answers, Anwar is flown to a black ops prison run by an American employed North African strongman named Abasi. Observing the interrogation is CIA analyst Douglas Freeman, a circumspect man unaccustomed to torture techniques. Freeman wants answers, but he questions Anwar’s guilt after Abasi’s methods fail to cull reputable information.

Back in D.C., Isabella’s quest for the truth about her husband’s disappearance is stonewalled. Saving bureaucratic face takes precedent over helping a citizen in need. Debating national security policies equates to committing political suicide. Isabella is left with little hope. Meanwhile, Freeman continues to butt heads with Abasi. A coerced admition from Anwar does little to suade Freeman’s position that Anwar is innocent. Further probing leads Freeman to conclude Anwar’s incarceration is unwarranted, not to mention illegal. His career on the line, Freeman is faced with doing his job or doing what is right. Whatever he decides means life or death for Anwar.

I’ve written before that films dealing with current hotbed political issues are often swept under the rug. In light of Abu Ghraib and Guantanamo it’s not surprising Rendition didn’t garner significant publicity. Ignoring a problem doesn’t make it go away. Director Gavin Hood and writer Kelley Sane tackle the subject of torture with a no-holds-barred approach. The mental anguish endured by Isabella is as equally unsettling as the physical punishment suffered by Anwar. It’s difficult not to relate to the helplessness and rage felt by the characters. A terrific cast features Reese Witherspoon, Jake Gyllenhaal, Peter Sarsgaard, Alan Arkin and Meryl Streep. Rendition definitely leans to one side but don’t allow that to discourage you from seeing this fine film. It might not change your mind but it will get you thinking.

The trailer for Rendition:

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Whatever happened to the western? You know, flicks about quiet men with quick draws who aim to right a wrong. Last year’s 3:10 to Yuma and the upcoming Appaloosa are an attempt to revive the once great genre but it seems apparent that the western belongs to a past generation of filmmakers and movie-goers. Me, I always dig a good cowboy movie. Down in the Valley is a sorta revisionist western set in the modern-day San Fernando Valley. It can’t be confused with a John Wayne or Clint Eastwood picture, but it certainly possesses the necessary attributes.

Edward Norton plays Harlan, a man-child vagabond who fancies himself a cowboy. He looks every bit the part, down to the hat, boots and six-shooters. While odd-jobbing at a gas station Harlan meets a rebellious teen named Tobe (Evan Rachel Wood). Tobe likes Harlan’s style so she invites him to join her and her friends at the beach. Harlan accepts and soon finds himself involved with the aggressive young girl. Tobe takes Harlan home where he meets Tobe’s little brother Lonnie, a quiet lonely kid in need of a friend. Harlan likes Tobe and takes him under his wing. However, Tobe’s stern father Wade (David Morse) is immediately suspicious of the strange Harlan.

When he’s not seeing Tobe, Harlan spends his days holed-up in his ratty hotel room playing cowboy. This child-like behavior appears innocent, but a darker tone stirs below the surface. After a brush with the law, Wade forbids Tobe to see Harlan. The emotionally fragile Harlan begins to crack. He grows obsessed with the notion of running off with Tobe and starting a whole new life together. A rational Tobe doesn’t take kindly to Harlan’s delusional ideas. A tragic accident sends Harlan running for the hills with Lonnie in tow. An enraged Wade rounds up a posse and rides out looking to bring Harlan back, dead or alive. A final showdown between Harlan and Wade ends with a bloody construction site shootout. Will the bad guy be brought to justice, or will he ride off into the sunset?

What starts as a simple teen love story gradually transforms into a sullen tale about an unstable man living in the wrong century. Writer/Director David Jacobsen borrows from the “western” playbook frequently including character names (Harlan, Wade, Lonnie) as well as traditional plot points (fighting for a woman’s honor, hiding out from the law). Edward Norton is stellar in his portrayal of Harlan, a nice guy with a checkered past who is mentally disturbed. Equally good is Evan Rachel Wood. The 21 year old actress is compiling quite an impressive list of credits. Look for her later this year alongside Mickey Rourke in The Wrestler. Down in the Valley is one of those smaller films that got lost in the shuffle a few years back, but it’s definitely worth a couple hours of your time.

The trailer for Down in the Valley:

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A lot of really good movies during the 1980s got lost amidst the mountain of shit that defined a decade considered one of the worst in the history of film. Movie studios spent most of the 80s searching for the next huge Blockbuster or hitching a ride on the never-ending sequel train. Mindless, albeit extremely profitable, drivel like the Friday the 13th, Nightmare on Elm Street and Halloween series took center stage for most of the decade. Consequently films like The Mean Season were largely ignored. Well, no longer my filmic friends. Here’s your chance to revisit a solid thriller that came and went without much fanfare.

Miami Journal crime-beat reporter Malcolm Anderson (Kurt Russell) is burned out and ready to call it quits. He and his girlfriend Christine (Mariel Hemingway) are looking forward to starting a life together in a small town. Malcolm’s future is put on hold after he gets a call from a man claiming responsibility for the murder of a young woman. The killer calls himself a fan of Malcolm’s and reveals a plan to murder four more people. Malcolm notifies the police and together they join forces to find the killer’s identity. The phone calls continue as the killer looks to use Malcolm to achieve stardom.

After two bodies are discovered the focus shifts from the murderer to the reporter. Malcolm’s relationship with the killer becomes the story. Angered by taking a back seat, the killer decides to turn up the heat and publicly humiliate Malcolm while persisting to complete his murder plot. Frustration mounts for the cops as leads go nowhere. Matters take a turn for the worst once Christine is kidnapped. One last call from the killer leads to a stormy showdown in the Everglades. Can Malcolm save Christine before the killer makes her his final victim? Or is the killer preparing to spring a trap that will give him the fame he so desperately seeks?

Director Phillip Borsos steers a taut story to a satisfying conclusion without veering of course. The idea of a reporter becoming a media star is nothing new today but back in 1985, before the 24/7 news cycle, it was a relatively new concept. Journalistic integrity and impartiality are called into question. Is it right for a news person to become bigger than the story he or she is covering? Does the public suffer if a news personality trades a supposed unbiased for media celebrity? Kurt Russell delivers another top-notch performance playing the driven, conflicted Malcolm. A strong supporting cast includes Richard Jordan, Richard Masur, Richard Bradford, Joe Pantoliano and Andy Garcia. The Mean Season doesn’t break any new ground but it’s more than deserving of a look.

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