Movie Loner

One Saturday night, when I was 10 years old, my parents took me and by brother to the Drive-In. For those of you not familiar with the Drive-In experience, you would park your car in front of a giant outdoor screen, attach a speaker to your door frame, and enjoy a couple flicks while munching stale popcorn and drinking flat soda. Anyway, on this particular Saturday night the double feature was The Road Warrior and Sharky’s Machine. The former is considered one of the great action films of all time, the latter just another cop movie starring Burt Reynolds. I love The Road Warrior, but it was Sharky’s Machine that really stuck with me.

Tough-guy narcotics cop Tom Sharky (Reynolds) just got transferred to vice after a bust-gone-bad. Banished to the bowels of the Atlanta Police Department, Sharky has a future of hookers and weirdos to look forward to. His first case lands him on a surveillance detail spying on a high-class call girl named Dominoe (Rachel Ward). Joining Sharky is a ragtag team that includes the loud, disgruntled Lt. Friscoe, nervous family man Nosh, grizzled veteran Papa, and soft-spoken Arch. Together they set their sights on bringing down a cruel super-pimp named Victor who has dealings with a corrupt politician.

Dominoe’s desire to free herself from Victor’s cold grasp lands her on the hit list of Victor’s brother Billy Score, a drug addicted psychopath responsible for tying up loose ends. Sharky’s round-the-clock peep show turns into a growing obsession for the sultry Dominoe. Victor and Billy’s efforts to dispose of Dominoe fall short, forcing Sharky to take her into hiding. As Sharky and Dominoe grow closer, a mole in the department threatens everyone on Sharky’s team, including Sharky. A bloody high-rise confrontation caps this taught police thriller.

Admittedly, the story is a little weak. It’s never really clear what Victor wants and why he’s killing people. However, there are plenty of interesting characters and action to sustain the plot. Reynolds direction doesn’t lack style; sweeping aerial shots of Atlanta’s skyline and moody set-pieces are prevalent. A solid cast of character actors features Charles Durning, Brian Keith, Bernie Casey and Henry Silva. Then there is Rachel Ward, the object of my first boyhood crush. My infatuation with her would continue in The Thorn Birds, Against All Odds, and After Dark, My Sweet. Damn, she has one helluva sexy voice. I’ve never been a huge Burt Reynolds fan but Sharky’s Machine is one movie I can watch over and over again. 

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If you want to make a great epic film you have to include three basic components. First, it has to take place in the past. Ideally, at some significant point in history: Ben Hur at the time of Jesus Christ or Gone with the Wind during the Civil War. Second, it must be set in an exotic locale. Sorry, New York City won’t due. Lawrence of Arabia had the desert, 2001: A Space Odyssey had space. Thirdly, it has to be tragic. Not a lot of puppy dogs and ice cream in epics. Out of Africa and All Quiet on the Western Front both contain tragic elements. How does Indochine stack up? Not too bad.

In 1930s Indochina, Eliane (Catherine Deneuve) owns one of the country’s largest rubber plantations. She lives with her father and adopted daughter Camille, a native girl who lost her parents in infancy. Eliane’s existence is one of luxury but her relationships are few. Loneliness turns to passion when she meets Jean-Baptiste (Vincent Perez), a handsome young French Navy Lieutenant. The two begin an affair but Jean-Baptiste’s adventurous ways are not conducive to commitment. Eliane’s attempt to forget Jean-Baptiste is derailed once Camille reveals her love for him after he rescues her from an act of street violence. In order to protect Camille, a jealous Eliane uses her connections to banish Jean-Baptiste to a remote outpost. Her actions drive a rift between her and Camille.

Angry and bitter, Camille agrees to an arranged marriage. Shortly after the wedding she turns her back on an affluent life and sets off to find Jean-Baptiste. A romantic reunion becomes fatal and the lovers are forced into exile. A massive manhunt by the Navy and police is unleashed to capture Camille and Jean-Baptiste before they reach China. Meanwhile, Eliane must deal with her tarnished reputation while hoping for her daughter’s safe return. As time passes Camille and Jean-Baptiste’s story takes on mythic status, inciting the growing Communist populace to accelerate its removal of the French sympathetic regime. Birth, death, and the transformation of a nation are crucial parts to a powerful conclusion.

As epics go Indochine meets the necessary criteria. It takes place in the 1930s, set against a lush SE Asia backdrop, relating a tragic story. Director Regis Wargnier unfolds a sweeping romance that spans close to twenty years, while documenting the last days of Indochina prior to its conversion to Vietnam. The beautiful Catherine Deneuve delivers a standout performance as the proud, forlorn Eliane. She carries the film admirably as only an actress of her standing can. Indochine won a deserving Best Foreign Language Film Oscar and belongs on the epic list. It fails to reach greatness but it makes for fine Saturday night viewing.

A scene from Indochine:

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I started this site to call attention to lesser-known films and films I felt have been unjustly overlooked or ignored. However, I think it only fitting to express my adulation when a movie is so good it reaffirms my belief that filmmakers haven’t completely lost their hearts and their souls. Juno, the multiple Oscar nominee and box-office sensation, is one such movie. Despite all its deserved accolades I still think last year’s little movie that could is supremely underrated. It is yet another sterling member of the Class of 2007, a year that gets better with every film I watch.

Sixteen year old Juno MacGuff (Ellen Page) just found out she’s pregnant. A one time sexual encounter with best pal Paulie Bleeker (Michael Cera) proves more fertile than Juno planned. After considering an abortion, young Juno decides adoption is the best way to proceed. She nervously breaks the “good” news to her dad (J.K. Simmons) and stepmom (Allison Janney) whom both accept her condition and offer their support. Juno’s search for willing parents ends in the pages of the local penny saver where she finds the perfect couple, Vanessa and Mark Loring, who have been wanting children for five years.

Juno meets the Lorings and quickly takes a liking to them, so she cuts a deal to give them her impending bundle of joy. She especially bonds with Mark (Jason Bateman) who shares her joy for rock music and bloody horror films. As Juno’s belly grows so does her loneliness. She hides her true feelings for the nebbish Paulie while developing an improper relationship with the Lorings, in particular Mark. Tension between Mark and Vanessa mounts as Mark reveals his apprehension about fatherhood, which puts the adoption in jeopardy. Juno begins to question the validity of love as she struggles to find her identity in a world where she increasingly feels out of place.

I found very little wrong with this movie. Director Jason Reitman pushes all the right buttons in this simple yet emotionally complex story. He treats his characters with respect, placing the kids and adults on equal footing, revealing that neither has all the answers. Diablo Cody’s Oscar-winning script deftly balances big laughs and poignant moments; its lighthearted approach to the serious subject of teen pregnancy never rings false or crass. But what makes Juno memorable is the convincing performance delivered by Ellen Page. Her riotous portrayal of the sarcastic outcast Juno is as good as it gets in the comedy genre. Also worth noting is J.K. Simmons, a fantastic character actor who once again shines playing Juno’s caring father Mac MacGuff. I’m sure everyone has seen this movie by now, but if you haven’t, what the hell are you waiting for?

A scene from Juno:

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Radio host extraordinaire and comic genius Ron Bennington was quoting Lost in America a couple weeks ago compelling me to pull it from my shelf and rewatch this unappreciated laugher. By the way, that’s Ron and Fez, noon to three on XM Satellite Radio channel 202. I had forgotten just how damn funny Albert Brooks was in the 80s with Broadcast News and Defending Your Life among his comedy credits. However, this streamlined road movie about “checking out” may be his best.

David Howard (Brooks) is awaiting a well-deserved promotion from his advertising firm. With plans of moving into a new home, David and wife Linda (Julie Hagerty) are entering the next chapter of their life together. David’s rise up the economic ladder hits an unexpected snag when his vice-president job is given to someone else. Naturally, he flips out and gets canned. Rather than delve into depression, David spins the positive and convinces Linda it’s time to ditch their predictable existence and go find themselves. So the Howards’ buy a Winnebago and hit the road resting atop a comfy nest-egg of $140,000. Oh, the best laid plans…

A quick stop in Vegas to renew their vows and then they can begin their frugal journey to self-discovery. Before the nuptials, Linda suggests one last night of luxury at the Desert Inn Hotel and Casino. Seems harmless enough until meek Linda turns wild and gambles away the nest-egg while David sleeps. Linda’s high stakes foray leaves them with a hearty sum of $800, putting their anti-society lifestyle in jeopardy. The cross-country expedition lands them in a desolate Arizona town where high-paying jobs are scarce. How long can the Howards’ survive before caving under the pressure to desire the finer things life has to offer?

Simply put, Albert Brooks is hilarious. Watching him lose it in separate tirades aimed at his boss and Linda are examplary of what makes a great comic performance. Brooks boasts precise timing and rare wit, two attributes severely lacking in many comedic actors. Holding her own is the underrated Julie Hagerty, who nails the role of straight woman as she did in the Airplane movies. Brooks’ and Hagerty’s chemistry sells the story as they play off one another brilliantly. Although some of the 80s references prove dated, Lost in America doesn’t lose any luster considering the dreck that passes as comedy today. If you want some smart, genuine laughs give Lost in America a view.

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The Movie Loner returns from vacation without a tan but brimming with renewed vigor. In keeping with my newfound pep, I offer an adrenaline shot film from the outstanding movie year that was 1999. I caught Go a few days back and had forgotten what a fantastic joyride it is. To call it a guilty pleasure would somewhat denigrate its merits. It won’t answer life’s enduring questions or solve the world’s complex problems, but it will give you a fun, trippy movie experience filled with laughs and quotable characters.

Bored with life Ronna (Sarah Polley) is going to get evicted from her place. Desperate for cash she accepts co-worker Simon’s shift at the grocery store so he can shuffle off to Vegas with his pals. While working the shift Ronna is approached by TV stars Zack and Adam looking to score some drugs from Simon. Still in need of money, industrious Ronna decides to pay Simon’s dealer a visit to purchase some Ecstasy for Zack and Adam. Drug dealer Todd Gaines agrees to sell Ronna the pills but because she’s short $100 he requires collateral. So Ronna leaves best-friend Claire (Katie Holmes) in Todd’s possession while she completes her transaction.

Zack and Adam’s overeager “friend” Burke arouses suspicion in Ronna, so she flushes the Ecstasy down the toilet, thus hampering her masterplan. But the ever-clever Ronna devises a scheme to fool vindictive Todd Gaines and land her the necessary dough she needs. Meanwhile, Simon’s excursion to Sin City provides a few lasting memories such as a heated menage-a-trois, food poisoning, a stolen Ferrari, gunplay at a strip club, and being pursued by low-rent hoods down the Vegas strip. Whew! Had enough? I haven’t even mentioned the rave. Go keeps going, and going.

Director Doug Liman and writer John August tell this frenetic odyssey through three different POV’s: Ronna, Simon, and Zack and Adam all act as plot tour guides helping to unwind the interconnected story. Living life on the edge and to the extreme is what Go is all about. Sharp dialogue and cool characters highlight an energetic script that Liman steers with reckless abandon leaving no chance for lulls. The film also features a terrific young cast speerheaded by Polley and Timothy Olyphant who plays the crude yet charming Todd Gaines, one of my favorite characters of the last ten years. If you’re looking for a little maniacal fun at the movies buckle up and check out Go.

The trailer for Go:

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One of my ex-girlfriends once called me a jaded son-of-a-bitch. I think she accused me of being emotionally detached. I was too busy laughing at her college level pyscho-babel to be certain, but she definitely didn’t like my attitude. Truth is I was emotionally detached from her because she was a whining bore. I’ll admit I’m a cynic, but my cynicism doesn’t carry over to the movies. After watching The Kite Runner I was reminded that life is filled with poignant stories of self-discovery capable of stirring emotions, even in asses like me.

It’s the late 70s in Kabul, Afghanistan. Amir, son of well-to-do businessman Baba, is best friends with Hassan, the son of Baba’s longtime servant, Ali. The boys spend their days wandering the streets, reading stories and flying kites. Hassan’s loyalty to Amir is unwavering; he fearlessly protects Amir from bullies and relishes his role as “kite runner”, running after kites that Amir cuts down. Amir is a timid boy, preferring to write and study rather than stand up for himself, much to the chagrin of his fearless father. Amir’s cowardice has devastating repercussions when he fails to step in while Hassan is brutally assaulted by older boys. The tragic incident fractures the boys’ friendship eventually leading to Ali and Hassan leaving Baba’s service.

Russia’s subsequent invasion of Afghanistan forces Baba and Amir to flee to Pakistan. Their journey takes them to Fremont, California where years later Amir graduates from college. While dreaming of becoming a writer, Amir falls in love with the beautiful Soraya and must endure his father’s failing health. In early 2001, Amir is called back to Afghanistan where he receives news of Hassan’s death. Amir’s guilt from his childhood betrayal is resurrected. A chance at redemption sends him back to Kabul to rescue Hassan’s orphaned son from the oppressive grip of the Taliban regime. Faced with real danger the grown Amir does what the young Amir could not — he risks himself to save another.

I’m not sure if it’s true but I read that Khaled Hosseini, the author of the novel The Kite Runner, was brought to tears after seeing a screening of the movie. That’s a ringing endorsement for any film adaptation. It’s always a challenge to adapt works of literature, especially those that span several years, but director Marc Forster and screenwriter David Benioff keep the crux of the story intact without any disruptive gaps in plot. High praise for Homayoun Ershadi who plays Baba, a proud and patriotic man who sacrificed much to make a life for his son. I may be a cynical SOB, but even I can appreciate movies with heart and The Kite Runner has a lot of heart.

The trailer for The Kite Runner:

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This movie got a lot of pub due to the gag order placed on cast and crew by wunderkind producer J.J. Abrams. Leave it to the creator of Lost to be vague. Everyone knew Cloverfield was a monster flick but the creature’s appearance was kept top-secret. Amazingly, in this information age, spoilers were kept under wraps until right before the release date. The film opened big but was quickly sucked into the pop-culture vacuum with little fanfare. No matter because this is an entertaining monster mash sure to spawn at least one sequel.

The story is told via a videotape recovered from Central Park after a surprise attack on Manhattan. The tape opens a month prior with longtime friends Rob and Beth basking in post-coital bliss. They playfully record one another while planning a day trip to Coney Island. Flash forward a few weeks to Rob’s ‘Moving to Japan’ farewell party. His brother Jason and Jason’s girlfriend Lily prepare for Rob’s arrival. Jason passes off the video camera to Rob’s best pal Hud and instructs him to shoot goodbye testimonies from the guests. Hud eagerly accepts his role as documentarian and commences annoying party goers. Rob arrives in a less than festive mood. Beth shows up later with a date. A frosty reception by Rob leads to a tense hallway confrontation between he and Beth. A shaken Beth quickly leaves.

The lover’s quarrel and slammin’ party is interrupted by a loud tremor. A check of the television confirms a possible earthquake in Manhattan. The gang head to the roof for a better look. In the distance a building explodes pouring a shower of flames across the city. Party over, dude. A panicked crowd flees the apartment building. Something is attacking the city. Lady Liberty’s head is hurled into the streets followed by a massive cloud of collapsed building dust. Soldiers and tanks race toward midtown to engage a 300 foot tall monster with a nasty disposition. Rob desperately tries to reach Beth. She is hurt and trapped in her midtown apartment. So Rob, Lily, a girl named Marlena, and cameraman Hud dash on foot to rescue Beth from the belly of the beast.

Memories of 9/11 can’t help but be conjured after seeing images of dust-covered people wandering in a daze after a terrifying attack on the city. This may be a monster movie but it’s an accurate depiction of the events of that fateful day in 2001. The herky-jerky handheld POV camera perfectly captures the frantic pace of this frightening tale. The Jaws method of less-is-more applies; we only get sporadic glimpses of the creature until the very end. The unknown cast does a credible job maintaining their fright throughout. The movie would’ve fallen apart if the characters didn’t seem genuinely freaked out. Cloverfield isn’t Alien but in a genre that lacks originality it proves to be a welcome entrant capable of delivering some good scares.

A kick-ass scene from Cloverfield:

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I’ve been writing a lot about 2007 movies for a reason. 2007 was a damn good year for film. In fact, it might have been the best year since 1999, a groundbreaking 365 days that included The Matrix, American Beauty, Fight Club, The Sixth Sense, Boys Don’t Cry, Being John Malkovich and Magnolia. WOW! What a list. But I digress, I’m supposed to be extolling 2007. The Assassination of Jesse James by the Coward Robert Ford may be guilty of a verbose title, but it is without question one of last year’s best films.

The story follows Jesse James (Brad Pitt) through his final years focusing on his odd relationship with Robert Ford (Casey Affleck), an ambitious young man who took part in The James Gang’s final heist. Ford grew up idolizing Jesse’s criminal exploits and believed a friendship with Jesse would lead to fame and fortune. Jesse, at first flattered by Ford’s fanaticism, soon grows weary of the obsessive behavior. Jesse would spend his post-crime life wandering Missouri in a constant state of paranoia fearing his inevitable capture or betrayal.

Jesse’s trust issues send him on a mission to eliminate anyone associated with the last robbery. That includes Robert Ford and his brother Charley (Sam Rockwell), who have devious plans of their own. Jesse sees through Robert’s innocent guise but does nothing to stop him. In the end, Jesse James welcomes his own death, tired of living a life on the run. For his part, Robert Ford achieves his desired stardom becoming one of the country’s most recognizable men. However, as time passes Ford’s heroic persona mutates into his true identity, that of a coward who gunned down a beloved American outlaw. The rest of Ford’s life would be one lived in shame.

Until this film Casey Affleck was always Ben’s little brother. Well, not anymore. His searing portrayal of Robert Ford earned him an Oscar nomination and permanent removal from Ben’s shadow. Great westerns are hard to find these days but writer/director Andrew Dominik paints a stark portrait of Missouri in the 1880s. Grim realism dominates a land where the code of criminals supplants the code of law. The Assassination of Jesse James by the Coward Robert Ford isn’t about elaborate gunfights or men with no names. It’s about the last days of a historic figure presented in a simple, yet effective manner.

The trailer for The Assassination of Jesse James:

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