Movie Loner

Before Brad Pitt became a Hollywood hunk and the poster-boy for international adoption, he was a young actor trying to launch a career. After laboring in TV land on shows such as Dallas, Head of the Class and Growing Pains, Pitt set his sights on feature films. Before his bare-chested cameo in 1991’s Thelma and Louise Brad got caught up in the flurry of high school movies that permeated the 1980s. He landed his first meaty role in Cutting Class, a biting comedy about a teenage serial killer. It’s no classic, but it’s not that bad either.

Someone is killing people at Wurleigh High. The prime suspect is darkly clad recluse Brian Woods, a recent resident of the local insane asylum where he was sent for murdering his father. Caught in the middle of this creepy whodunit are teen couple Paula and Dwight. Paula is the quintessential girl-next-door, cute as a button and a stickler for the rules. She’s also the object of Brian’s obsession. Dwight is the prototypical bad boy: hot tempered, drives a fast car, spurns authority. He’s also Brian’s former best friend. Who is responsible for all these murders? Is it really Brian? Or could it be Dwight? Other potential slashers include a crazed janitor and a perverted principal. Paula doesn’t know who to trust but one thing is certain. No one is safe at Wurleigh High.

This movie is a guilty pleasure. It reminded me of Heathers which was released the same year, but its story structure more closely resembles Wes Craven’s Scream, minus the phone games. Horror that refuses to take itself seriously. It has its share of gore and the plot is twisty enough to keep you guessing until the final act. The Director is some guy named Rospo Pallenberg. Sounds like a pseudonym to me, but he failed to direct another movie. Whether he’s real or not, Rospo helms a silly ship that never gets boring. Instruments of death range from a pottery kiln to a copy machine. I’m always amused by the number of things in high school that can kill you.

Donovan Leitch gives it his over-the-top all playing the disturbed Brian. We know he’s got a screw loose, but his culpability is not definitive. A couple of acting vets also appear: Roddy McDowall of Planet of the Apes fame plays lecherous principal Dante and comic Martin Mull adds an oddball spin to Paula’s attorney father. Speaking of Paula, she’s portrayed by raspy voiced Jill Schoelen who peeked in 1987’s cult terror flick Stepfather. Like so many other 80s “scream queens” she faded into obscurity by the mid 1990s. Cutting Class will be forever known for the Brad Pitt connection, but it’s got more going for it than just him.

A scene from Cutting Class:

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Shocktober comes to a rousing conclusion with my favorite horror sub-genre. The werewolf movie. Nothing like menacing lycanthropes to brighten your day. Whether it’s Lon Chaney, Jr. in The Wolf Man or Michael J. Fox in Teen Wolf, I’ve always had a soft spot for half-man, half-wolf creatures of the night. Until now, Wolfen and The Howling resided at the top of my list. Not anymore. The new top-dog is Dog Soldiers, a kick ass flick that’s a cross between classic actioners Aliens and Predator. Turn down the lights and lock the doors for this one. It will definitely raise the ol’ heart-rate.

A six-man British Army squad is dropped in the Scottish highlands to perform a routine training exercise. The tight-knit team traverses a dark forest heading for its objective point. Watching from afar is a ruthless Special Forces Captain named Ryan. Unbeknownst to the squad, Ryan is using them as bait to spring a trap. Before Ryan can complete his artifice he and his men are viciously attacked by something. The Army team discovers their camp with a wounded Ryan the sole survivor. The six men arm themselves to the hilt as Ryan warns of an unstoppable enemy. As the squad retreats giant wolf-like beasts advance from the shadows.

Heading for a nearby road the team flags down an approaching vehicle driven by a local zoologist named Megan. She takes them to a remote cottage deep in the forest where they hold up to rest and regroup. It doesn’t take long to discover the werewolves have followed and surround the farmhouse. With their sergeant badly wounded, Pvt. Cooper takes charge of the men. He directs his soldiers to stay alert and prepare to make a stand. With a full moon shining high in the night sky, the creatures converge on the cottage. A back-and-forth bloody melee between man and beast lasts well into the late hours. Can the squad survive until morning or will the werewolves lay siege on their makeshift fortress?

Damn, this was a good movie. I remember when it was released back in ‘02 but it seemed somewhat budget at the time. I couldn’t have been more wrong. Writer/Director Neil Marshall hits the gas and surges a sharp action-packed plot to a booming conclusion. Quick dialogue and excellent character development separate Dog Soldiers from its many cousins in the genre. The werewolves are the best I’ve ever seen on film; an accurate and frightening depiction of man/beast hybrids. A fine cast is led by Kevin McKidd (Rome) as the fearless Pvt. Cooper. Adding credible support are Liam Cunningham as Capt. Ryan and Sean Pertwee as the dedicated Sgt. Wells. Dog Soldiers is not only an incredible horror film, it’s a legit movie period. Not to be missed.

The trailer for Dog Soldiers:

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It wouldn’t be Shocktober without a good vampire movie. Bloodsuckers have been all the rage in recent years what with the Blade and Underworld series racking in mucho dinero. The iconic Dracula and the myriad of Hammer films produced during the 1970s have made vampires a staple in American cinema. Be it Angel or Lestat, the immortal creatures of the night never seem to disappear from mainstream culture. True Blood, currently running on HBO, and the upcoming Twilight are proof that vampires are alive, or rather dead and well in 2008.

Caleb just met the girl of his nightmares, a quiet young lass named Mae. A night of star gazing and heavy petting ends with a love-bite for Caleb. A love-bite on his neck. Come sunrise Caleb is feelin’ a little toasty. He tries to hump it home but gets kidnapped along the way by a Winnebago of weirdos. Saving him from death by fire is Mae’s “family”. Daddy Jesse, mommy Diamondback, big bro Severen and Grandpa Homer. Now, their not what you would call a traditional family. They’re vampires who roam the Kansas plains in search of fresh blood.

Caleb’s acceptance into the unit will be complete once he makes his first kill. His reluctance to do so puts him at odds with the undead clan. Mae’s love will only carry him so far. Meanwhile, Caleb’s father and little sister are worried sick. The police offer zero help so they hit the road to find Caleb themselves. Caleb, initially seduced by becoming a vampire, finds Jesse and the rest to be a little overzealous when brutally murdering and bloodletting innocent country folk. Caleb wants out and once his family is threatened by the “family” he takes his leave. But Jesse and Co. hold a grudge and follow Caleb back to Oklahoma to settle the score once and for all.

Writer/Director Kathryn Bigelow broke onto the scene with this gory tale. There’s no elaborate creature-effects or tedious backstory. It’s vampires baby, nothin’ but vampires. That’s a complement not a criticism. My favorite succubus flicks are those that eschew the glitz and glamour (The Lost Boys, Salem’s Lot). I’ll take slit throats and burning flesh over castles and accents anyday. A cast of familiar faces includes Bill Paxton, Lance Henriksen and Jeanette Goldstein, all of whom would go on to star in James Cameron’s catalog of films. Near Dark is one of the better bloodsucker movies I’ve seen. If you haven’t caught it yet get yourself a copy and enjoy.

The trailer for Near Dark:

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Glancing at the calendar the other day I realized it’s Shocktober. Ghouls and goblins will soon be knocking on doors looking for delicious treats. At Movie Loner we’re looking for some frightfully good horror flicks. With that in mind I’ll do my best to point out a few of my faves this month. The terror genre is filled with fraudulent franchises like Saw and Hostel, so finding good ol’ fashioned creep-fests is difficult. First up is Jeepers Creepers, a solid little film chock full of scares and gore.

Bickering bro and sis Darry and Trish Jenner are driving home for college spring break. A remote rural highway is their route of choice. Their ordinary journey is interrupted by an ominous 1941 Chevy truck that attempts to run them off the road. Narrowly avoiding a crash, Darry and Trish regroup and try to laugh off their intense confrontation. They resume their drive and stumble-upon the sinister truck driver dumping “something” down a roadside drainpipe. Another chase ensues and once again Darry and Trish escape. A reluctant decision to return to the drainpipe results in Darry falling down the pipe and discovering a cavernous mausoleum lined with hundreds of petrified corpses.

A freaked-out Darry and a panicked Trish rush to the nearest gas station seeking help. The police arrive but they find Darry’s outlandish tale a little suspect. After some coaxing, the cops follow the kids out to the drainpipe to investigate. A short trip meets a disturbing end when a flesh-eating winged demon eviscerates and decapitates the cops. Not good. Darry and Trish lay some rubber with the demon in pursuit. The siblings take refuge inside a police station where they meet a nutty psychic who warns them of a creature that appears every 23rd spring to feed for 23 days and is fond of the song “Jeepers Creepers.” Once it catches your scent, you’re dead.

Writer/Director Victor Salva keeps things simple in this wickedly creepy thriller. No unnecessary subplots or ridiculous twists, just demon versus teens going mano-y-mano. The creature is pretty damn terrifying; it’s a cross between a gargoyle and the Predator, with a penchant for whistling. Justin Long, before he became the Apple guy and a movie star, shows some real chops playing Darry. But the real star is the Creeper, who seems to relish consuming various body parts. He also has something many evil demons lack — a sense of humor. The license plate on his truck reads, BEATNGU. Get it? Of course they made a sequel, but it pretty much blows, so don’t bother. And yes plans to make a third installment were recently announced, starring Gina Philips who portrayed Trish. Anyway, if you like these types of movies and you missed it the first time around check out Jeepers
Creepers.

A scene from Jeepers Creepers:

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I’ve written many times on these pages about filmmakers “getting it.” Some do, some don’t. What do I mean? The ones who get it are the ones who tell their stories the best way they know how, without compromise, without fear. They don’t answer to committees or executives. They answer to themselves. That’s what I mean by “getting it.” David Gordon Green is a filmmaker who gets it. Since breaking onto the scene in 2000 with the stunning George Washington Gordon Green has dedicated himself to making uniquely original films that deal with real people and real problems. At only 33, Gordon Green continues to mature at his craft but if Snow Angels is any indication he is close to reaching the prime of his career.

As Christmas nears, life in a bucolic small town is about to get very interesting. Teenager Arthur Parkinson works as a bus boy at a local Chinese restaurant. Adolescence is proving complicated for Arthur; his parents are heading for divorce and a new girl named Lila is showing an interest in him. Arthur’s childhood babysitter Annie is having difficulties of her own. A single mother, Annie is becoming frustrated with raising her young daughter Tara. Annie’s ex husband Glenn is also back in the picture. Glenn, a born-again loser who survived a suicide attempt, is futilely trying to regain Annie’s trust and love. Annie rejects Glenn’s advances and instead continues an affair with the husband of a co-worker.

Once Glenn learns of Annie’s new boyfriend, his unstable behavior returns. Meanwhile, as Arthur’s family erodes his relationship with Lila blossoms. Seemingly headed in different directions the lives of all these characters are about to converge. A tragedy will bring them together and alter their paths. The aftermath of said tragedy will leave Arthur, Annie and Glenn trapped in an inextricable maze of sadness and confusion. Some will gather the strength to escape, others will struggle, unable to cope with the loss. A cold, winter wind blows bringing with it a cloud of sorrow that will forever change life in this bucolic small town.

Gordon Green is an expert at balancing multiple characters and story lines. He creates a prosaic existence for his characters to dwell and eschews all sense of melodrama. A simple shot of an empty snow-covered swing says more than any soliloquy ever could. Gordon Green’s direction is appropriately subtle. He allows his actors to propel the plot to a natural conclusion. Michael Angarano stands-out playing Arthur, a quiet goodhearted young man forced to grow up a little early. Kate Beckinsale and Sam Rockwell also deliver powerful performances as Annie and Glenn, a tortured couple destined to meet a mournful end. Snow Angels won’t leave you feeling warm and fuzzy inside and it won’t apologize for doing so. David Gordon Green tells his stories his way. He does this because he’s one of those filmmakers who gets it.

A scene from Snow Angels:

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Alright, Live Free or Die Hard fails to meet any of the criteria I laid out for this blog. I willingly admit going astray on this one. It’s a humongous Hollywood blockbuster sequel starring one of the world’s biggest movie stars. Alas, temptation and my predilection for kick-ass action flicks has gotten the better of me. If it’s any consolation, the original Die Hard is one of my favorite movies. I was leery when they announced a fourth installment, but after watching it I feel compelled to heap a good amount of justifiable praise upon this big-budgeted franchise.

Bruce Willis is back as reckless hero cop John McClane. Tough and sarcastic as ever, McClane is more grizzled but no more wiser. On the eve of the 4th of July the FBI’s Cyber Crime Division is hacked by unknown geeks. Short-staffed due to the holiday, the Bureau enlists McClane’s aid to bring in New Jersey hacker Matt Farrell (Justin Long). McClane arrives at Farrell’s door only to be greeted by machine-gun toting thugs who have an interest in killing young Matt. A tense shootout leaves Farrell’s apartment in ruins as he and McClane narrowly escape. Diametrically opposed, McClane and Farrell head for D.C. to get some answers. They soon discover that the U.S. Government is under siege by a gaggle of nefarious cyber terrorists.

Leading the bad guys is ex government programmer Thomas Gabriel (Timothy Olyphant), a steely eyed computer genius bent on creating anarchy. But this is a Die Hard film, so his real motivation is what else — money, lots and lots of money. A cat and mouse game ensues with McClane and Farrell feverishly pursuing Gabriel. Chaos reigns as the clock ticks. To help uncover the plot Farrell brings aboard an uber hacker named Warlock (a hilarious Kevin Smith). Of course, Gabriel does what villains do and kidnaps McClane’s daughter Lucy which further enrages an already testy McClane. A bevy of action sequences is topped off by an electrifying chase involving a tractor trailer and an F-35 Joint Strike Fighter. Whew!

What a pleasant surprise this was. Director Len Wiseman (The Underworld movies) continues to impress in the action genre. This has the look and feel of the first Die Hard complete with non-stop thrills and plenty of comic relief, thanks to Willis and Long. Super-fans like me will also enjoy the many homages to the earlier movies. The great McClane/Gennero name controversy, an FBI agent named Johnson, and an elevator shaft escape are just some of the references. Willis deserves credit for not half-assing his way through the story. Twelve years after Die Hard: With a Vengeance he could have easily taken the fat payday and delivered a careless performance. Olyphant seems to relish his vicious turn as Gabriel, and the aforementioned Kevin Smith provides some good laughs. Live Free or Die Hard capably resurrects the franchise, so a fifth installment doesn’t seem far-fetched.

A scene from Live Free or Die Hard:

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Viggo Mortensen is one of those actors that has quietly carved out an impressive career filled with varied performances. A misanthropic ex-con, smooth-talking drug lord, conflicted Navy Lieutenant, Lucifer, and Aragorn, King of men are just some of the memorable characters Mortensen has ably tackled. However, it’s his recent collaborations with Director David Cronenberg that have garnered him the most accolades. Both A History of Violence and Eastern Promises provided Viggo opportunities to play violent men who deftly circumnavigate criminal worlds.

Anna Khitrova (Naomi Watts), a London midwife, is present at the birth of a baby girl to a teenage Russian prostitute. The young woman dies during pregnancy prompting Anna to seek out relatives for the orphaned baby girl. A business card in the teenager’s diary leads Anna to Semyon, a local restaurant owner and Russian mafia boss. Anna needs the diary translated, so Semyon willingly offers his services. Unaware who Semyon really is, Anna hands over a copy for him to translate. Meanwhile, Anna’s Russian Uncle Stepan reads the diary and reveals Semyon and his loose-cannon son Kirill are responsible for raping the teen and forcing her into prostitution.

An angry Anna goes to confront Semyon but is stopped by Kirill’s driver Nikolai (Mortensen), and intimidating but friendly subordinate. Nikolai takes a liking to Anna and realizes he must protect her from the vindictive Semyon. However, the ambitious Nikolai also has plans of his own. He’s climbing the ranks inside the mafia family with eyes on the power seat. Semyon recognizes Nikolai’s loyalty, but he will do anything to save himself and his son, even if that means sacrificing Nikolai. Threatened by betrayal, Nikolai will place himself in harm’s way in order to save Anna and the baby girl.

Cronenberg, known for choosing odd narratives like Dead Ringers, Naked Lunch and Crash, has hit a couple of home runs with mainstream subject matter. Eastern Promises is a tightly woven plot with a couple clever twists. An intense, grisly bathhouse fight scene highlights a potent story that explores the repercussions of living a criminal life. Mortensen really delivers in a performance that nabbed him a Best Actor Oscar nomination, and Watts is equally good playing the courageous Anna. But the highest praise belongs to Armin Mueller-Stahl as Semyon, a grandfatherly mob kingpin with an ice cold heart. Not for the squeamish, Eastern Promises is a solid crime drama worth a look.

The trailer for Eastern Promises:

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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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