All posts by Dennis Hartley

Blu-ray reissue: Twin Peaks: the Entire Mystery ****

September 17, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 9, 2014)

Twin Peaks: the Entire Mystery – Paramount Blu-ray (box set)

Who killed Laura Palmer? Who cares? The key to binge-watching David Lynch’s short-lived early 90s cult TV series about the denizens of a sleepy Northwestern lumber town and their twisted secrets is to unlearn all that you have learned about neatly wrapped story arcs and to just embrace the wonderfully warped weirdness. The real “mystery” is how the creator of avant-garde films like Eraserhead and Blue Velvet managed to snag a prime time network TV slot in the first place…and got away with it for two seasons! Paramount’s Blu-ray box set sports vibrant transfers and crisply re-mastered audio tracks. Extras include the “international” cut of the pilot episode, and the “prequel” feature film, Twin Peaks: Fire Walk with Me. All extras from the DVD “gold box” are ported over, with new bonus material.

Action, Adventure, Neo-Noir

Blu-ray reissue: Sorcerer ***

September 17, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 9, 2014)

Sorcerer – Warner Bros. Blu-ray

The time is ripe for a re-appraisal of William Friedkin’s 1977 action-adventure, which was greeted with indifference by audiences and critics at the time. Maybe it was the incongruous title, which likely led many to assume it would be in the vein of his previous film (and huge box-office hit), The Exorcist. Then again, it was tough for any other film to garner attention in the immediate wake of Star Wars.

At any rate, it’s an expertly directed, terrifically acted update of Henri-Georges Clouzot’s classic 1953 nail-biter, The Wages of Fear (I say “update” in deference to Friedkin, who bristles at the term “remake” in a “letter from the director” included with the new disc).

Roy Scheider heads a superb international cast as a desperate American on the lam in South America, who signs up for a job transporting a truckload of nitroglycerin through rough terrain. Tangerine Dream provides the memorable soundtrack. No extras on Warner’s Blu-ray, but to finally see a restored, director-supervised transfer is a treat.

Gangsters, Neo-Noir

Blu-ray reissue: Prime Cut ***

September 17, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 9, 2014)

Image result for prime cut film

Prime Cut – Explosive Media Blu-ray

This offbeat 1972 “heartland noir” from director Michael Ritchie features one of my favorite Lee Marvin performances. He’s a cleaner for an Irish mob out of Chicago who is sent to collect an overdue payment from a venal livestock rancher (Gene Hackman) with the unlikely moniker of “Mary Ann”.

In addition to overseeing his meat packing plant (where the odd debt collector ends up as sausage filler), Mary Ann maintains a (literal) stable of naked, heavily sedated young women for auction. He protects his spread with a small army of disturbingly uber-Aryan young men who look like they were cloned in a secret Nazi lab.

It gets even weirder, yet the film has an strangely endearing quality; perhaps due to its blend of pulpy thrills, dark comedy and ironic detachment. It’s fun watching Hackman and Marvin go mano a mano; and seeing Sissy Spacek in her film debut. Explosive Media skimps on extras, but boasts a sharp transfer.

Adventure, Culture Clash, Documentary, Drama

Blu-ray reissue: Herzog: The Collection ****

September 17, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 9, 2014)

Herzog: the Collection – Shout! Factory Blu-ray (box set)

(*sigh*) It turns out everything that I thought I knew about iconoclastic German director Werner Herzog’s oeuvre couldn’t fill a flea’s codpiece (hangs head in shame, while sheepishly offering to rip up critic’s license for the reader’s amusement). I came to this realization after perusing the list of films included in Shout! Factory’s handsomely designed new Blu-ray box set. Out of the 16 films (spanning the years 1970 to 1999), I had only seen 5. However, in my defense, this is the first time any of these films have been available on Blu-ray, and a good number of them (particularly from the 1970s) have been difficult to track down in any format since the advent of home video.

As I have been plowing through this eclectic collection, I can confirm one constant that I had already gleaned about Herzog…from his earliest days as a filmmaker and continuing to this day, he goes to places where most of us fear to tread (literally and figuratively) and hones his lens in on the one thing in the room that makes us want to look away (how does he always know?!) With beautifully restored prints, new audio commentaries, and many more extras, this box set is a film lover’s dream.

Action, Dystopian, Sci-Fi, Thriller

Stop the world, I want to get off: Elysium * & Europa Report

September 16, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 10, 2013)

It’s tempting to take the political allegory in Neill Blomkamp’s new sci-fi action adventure Elysium and run with it. But I am going to take the high road. I’m not going to shoot you a Palin-esque wink as I tell you the year is 2154, and the human race is reduced to two classes: the super-rich, who have ensconced themselves in a glorified gated community called Elysium (a gargantuan bio-domed space station in Earth’s orbit) and the rest of humanity, who have been ghettoized back on Earth, which has fallen into ecological and economic ruin.

The Earth rabble try to infiltrate the 1 per-centers’ big wheel in the sky via “illegal” shuttle crafts, but those lucky enough make it past Elysium’s formidable Star Wars missile defense system and land are captured by police droids and deported back to Earth (note I’m still keeping a straight face). Screw it. I reveled in the political allegory.

I especially reveled in Jodie Foster’s turn as Elysium’s icy Secretary Delacourt, who usurps the President’s ineffectual requests to take it down a notch on these strident Homeland Security measures (and if she didn’t base her characterization on Governor Jan Brewer, then Stephen Colbert actually is a conservative pundit).

Meanwhile, back in the States, we meet Max (Matt Damon), an ex-con who works at a dreary droid manufacturing plant in L.A. The Los Angeles of 2154 resembles a giant favela (it makes the Blade Runner rendition of the City of Angels seem Utopian). Nearly everyone speaks Spanish (now…settle). Those lucky enough to have a job are mercilessly exploited by their employers (I said: settle!). While there are hospitals, they are understaffed and ill-equipped to treat catastrophic illnesses; whereas on Elysium, every mansion come equipped with a miracle medical appliance that seems to cure everything from paper cuts to cancer via cellular regeneration.

All of these mitigating factors are about to converge into a perfect shit storm for our protagonist. A work accident exposes Max to a lethal amount of radiation. He’s told he has 5 days to live and given a bottle of painkillers. His only chance for a cure is on Elysium.

Desperate, he reaches out to an old acquaintance (Wagner Moura), now a successful smuggler, to see if he can arrange passage. As Max is somewhat short on funds, the smuggler offers a trade deal. If Max does a special “job” for him, he’ll get him on a shuttle. Max agrees, but the gig goes south, and he’s on the run from an odious mercenary (Sharlto Copley) who does covert operations for Secretary Delacourt.

What ensues is a mashup of Escape from New York with Seven Days in May (granted, Max is no Snake Plissken, but he’s in the same ball park). As he did in his 2009 feature film debut District 9, Blomkamp deftly delivers a strong political message and slam-bang sci-fi action entertainment all in one package. While Damon is unquestionably the star, I think Copley (who seems to be establishing a Scorcese-De Niro/Herzog-Kinski type partnership with the director) nearly steals the movie with his deliriously over-the-top performance (his character is the best scene-stealing sci-fi heavy since Dennis Hopper and his eye patch played to the back of the house in Waterworld).

Oh, by the way…the best part about this film is that the real show hasn’t even started yet. There is an unmistakable, marvelously unapologetic pro-Obamacare message in the denouement that is surely going to leave the “Aha! It’s another piece of Hollywood lefty socialist propaganda!” crowd apoplectic and sputtering with impotent rage. They are going to go absolutely spare (if they haven’t gone so already). Personally, I can’t wait. Pass the popcorn…

Film makers who aim to create “realistic” sci-fi dramas are faced with a conundrum: While it may be true that “It’s not about ‘destination’, but rather the journey”, an inconvenient truth remains…real life space journeys are tedious (Apollo 13 aside). Even our nearest interstellar travel destination (the Moon) takes 4 days (I don’t know about you, but I get antsy after 4 hours on a plane). So if you want to do a realistic film about a Jupiter mission, how do you add drama? OK, Kubrick did it in 2001: A Space Odyssey, but that set a high bar.

To their credit, for about two-thirds of their hyper-realistic sci-fi drama Europa Report, director Sebastian Cordero and screenwriter Philip Gelatt seem headed for that bar. Framing the narrative with the “found footage” gimmick, the film is a faux-documentary that “reconstructs” a privately-funded mission to Jupiter’s moon of Europa to probe for signs of aquatic alien life beneath its ice pack. The six crew members have each been chosen for expertise in their respective fields. Shipboard footage capturing the workaday mission minutiae is interspersed with somber “present day” interviews telegraphing that it all ends in tears (don’t worry…not a spoiler).

Most of the filmmaker’s effort focuses on making us believe that this is all really happening, and indeed the overall “look” is right. Special effects are seamless; all the hardware, the radio chatter, EVA procedures etc. etc. suitably authentic and convincing, but there’s one thing missing…an interesting story. There’s simply no “there” there, and the sudden 180 into The Blair Witch Project territory in the third act cheapens the film and destroys all credibility.

The cast (which includes Michael Nykvist and the ubiquitous Sharlto Copley) do the best they can with woefully underwritten parts, but the resultant lack of emotional investment on my part as a viewer made it hard for me to care about what happened to whom once the mission (and the film itself) began to go horribly, horribly awry.

Drama, Neo-Noir, School Days

Hints and allegations: The Hunt ***1/2

September 16, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 9, 2014)

Did you ever play “telephone” when you were a kid? Assuming that some readers were raised on texting, it is a party game/psychology 101 exercise in which one person whispers a message to another, moving down the line until it reaches the last player, who then repeats it loud enough for all to hear.

More often than not, the original context gets lost in translation once it runs through the gauntlet of misinterpretations, preconceptions and assumptions that generally fall under the umbrella of “human nature”.

The Hunt is a shattering drama from Danish director Thomas Vinterberg (co-written by Tobias Lindholm) that vividly demonstrates the singularly destructive power of “assumption”.

When we first meet bespectacled, mild-mannered kindergarten teacher Lucas (Mads Mikkelsen), he is just beginning to see the light at the end of the tunnel following a difficult and emotionally draining divorce. Well-liked by his students and fellow teachers and bolstered by the support of long-time friends like Theo (Thomas Bo Larsen) Lucas is picking up the pieces and embarking on a fresh start. He lives and works in a small, tightly-knit community, where few residents would be considered “strangers”

One day at school, some of Lucas’ students decide to “dog pile” their teacher. Watching from the wings is Theo’s daughter Klara (Annika Wedderkopp), a withdrawn but sweet little girl who knows Lucas not only as a teacher, but as a family friend. She joins the giggly pile of kids and kisses Lucas, full on the lips. He immediately takes Klara aside and gently admonishes her, explaining that it is inappropriate for her to kiss any adult on the lips (other than Mom and Dad).

But 5 year old Klara is only puzzled and hurt by what she simply perceives as rejection. A while later, the school principal (Susse Wold) spots a tearful Klara. She asks her what is wrong. Klara’s answer is a sulking child’s innocent lie, but it ignites a real life game of “telephone” that is about to turn a man’s life upside down.

Mikkelsen’s performance as a man struggling to keep his head above water whilst being inexorably pulled into a maelstrom of Kafkaesque travails is nothing short of astonishing. The film is a fascinating glimpse into the psychology of mob mentality, at times recalling Fritz Lang’s Fury. There are also flashes of Akira Kurosawa’s Scandal, particularly in the protagonist’s dogged refusal to dignify the accusations by neither denying guilt nor going out of his way to profess his innocence.

The Hunt is powerful and unsettling, yet essential. And that’s no lie.

Biopic, Show Biz

I saw Polly in a porny: Lovelace **

September 16, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 9, 2014)

In their engrossing 2005 documentary Inside Deep Throat, co-directors Fenton Bailey and Randy Barbato examined (with the benefit of 30+ years of hindsight) the surprisingly profound sociopolitical impact of the first (and arguably only) “adult film” to become a mainstream cultural phenomenon. The most compelling element of the documentary was the personal journey of Deep Throat star Linda Lovelace, who was paid $1250 for her starring role in the no-budget 1972 porno (said to have been made for about $50,000) that has since raked in an estimated $600 million in profit.

In 1980, Lovelace wrote an autobiography called Ordeal, in which she alleged that she had essentially been bullied into her career as a porno actress by her then-husband Chuck Traynor (who later married Marilyn Chambers). She claimed that Traynor not only physically and sexually abused her throughout their marriage, but pimped her out; even forcing her to perform some of her movie scenes at gunpoint.

After publishing the book and settling down in suburbia to start a family with her new husband, Lovelace became an anti-porn activist for a spell, finding herself feted by the likes of Gloria Steinem (she famously stated on the Phil Donahue show that “Whenever someone sees that film, they’re watching me being raped.”).

However, in the years just prior to her 2002 death in a car accident, she had begun to cash in once again on her porn legacy, causing some to question her credibility. According to one interviewee in Baily and Barbato’s film, she was a person who “always needed someone to tell her what to do.” So was she a real-life Citizen Ruth, willing to be used as anyone’s cause celebre?

That might have been an interesting angle for a filmmaker to expand on…but unfortunately, it is but one of many missed opportunities in the disappointingly rote biopic Lovelace, the latest by another directing tag team, Rob Epstein and Jeffrey Friedman.

Epstein and Friedman pick up Linda’s story just before Chuck Traynor enters her life. Linda (Amanda Seyfried) is living with her parents (Sharon Stone and Robert Patrick) in Florida. At first, Traynor (Peter Sarsgaard) manages to exude charm (although Linda’s parents find his job as manager of a restaurant/exotic dance club a bit dubious) but he soon sweeps her off her feet, giving her a ring and whisking her off to New York.

Chuck introduces Linda to his mobbed-up pals (Chris Noth and Bobby Cannavale) who are always on the lookout for new “talent”. Chuck offers them a home movie that showcases a unique skill that he has “taught” Linda to perform. The gobsmacked hoods get Linda an audition with adult film director Gerry Damiano (Hank Azaria in the film’s most spirited performance), and the rest, as they say, is History (as tame reenactments of the making of Deep Throat ensue).

This takes up half of the running time. Then, the filmmakers do a 180. Jumping ahead 6 years, we see Linda taking (and passing) a lie detector test regarding the claims of abuse that she had recounted in the 1980 autobiography. The story then abruptly jumps back to just after Chuck and Linda get married and move to New York, flashing forward over key events we have already seen…except this time, they insert the scenes of abuse that were purposely omitted for the first half of the film. While I understand the intention of this faux-Rashomon conceit, it’s clumsily executed and stalls the film out (making it feel much longer than its relatively short 92 minutes).

This is a surprisingly weak entry from a talented duo whose combined credits include The Times of Harvey Milk (Epstein solo), Where Are We? Our Trip Through America and The Celluloid Closet (co-directors). Perhaps the problem is that by limiting their narrative to Lovelace’s version of events, the filmmakers box themselves in, leaving little room for fresh insight. Or perhaps since this is only their second non-documentary effort, they’re unsure what to do with newfound creative license. So I would recommend you skip this melodrama and opt for the aforementioned documentary.

Historical drama, On Politics, War, Writers

In her own write: Hannah Arendt ***

September 16, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 20, 2013)

A comic I worked with a few times during my stand-up days (whose name escapes me) used to do a parody song (to the tune of Dion’s “The Wanderer”) that was not only funny, but a clever bit of meta regarding the very process of coming up with “funny”. It began with “Ohh…I’m the type of guy, who likes to sit around,” (that’s all I remember of the verse) and the chorus went: “Cuz I’m the ponderer, yeeah…I’m the ponderer, I sit around around around around…”

Still makes me chuckle thinking about it. And it’s so true. Writers do spend an inordinate amount of time sitting around and thinking about writing. To the casual observer it may appear he or she is just sitting there staring into space, but at any given moment (and you’ll have to trust me on this one) their senses are working overtime.

There’s lots of staring into space in Hannah Arendt, a new biopic from Margarethe von Trotta. The film focuses on a specific period in the life of the eponymous character (played by Barbara Sukowa, in her third collaboration with the prolific German director), when the political theorist/philosopher wrote a series of articles for the New Yorker magazine (eventually spawning a book) covering the trial of Nazi war criminal Adolf Eichmann.

If that doesn’t sound to you like the impetus for a slam-bang action thriller, you would be correct; even if the film does in fact open with a bit of (murky) action. A man has his leisurely nighttime stroll rudely interrupted by a team of abductors, who unceremoniously toss him into the back of a truck and spirit him away (in 1960, Eichmann was nabbed in Argentina and smuggled to Israel by the Mossad to stand trial).

The remainder of the film more or less concerns itself with the personal and professional fallout suffered by Arendt (a German Jew who fled from France to New York in 1941 with her husband and mother) after she eschews the expected boilerplate courtroom reportage for an incendiary treatise redefining the nature of evil in a post-Nazi world.

It was in this magazine piece that Arendt coined the phrase “banality of evil”, which has become part of the lexicon (god knows I’ve co-opted it once or twice in my own writing). While it doesn’t seem like such a big deal now, this was a provocative (and subsequently controversial) concept for its time.

Most fascinating to Hannah (and us, as we watch interpolated archival footage from the trial) was Eichmann’s ho-hum businesslike demeanor as he recounted sending thousands to the gas chambers; just another bureaucrat punching a clock and filing in triplicate (remember Michael Palin as the torturer in Brazil, casually removing a blood-spattered smock to affably play with his little girl, who has been patiently waiting in Daddy’s office while he’s “working”?).

Sukowa gives a compelling performance as Hannah; particularly impressive considering how much of it is internalized (she’s so good that you can almost tell what she’s thinking). While a film largely comprised of intellectuals smoking like chimneys while engaging in heated debates over ethical and political questions is obviously doomed to a niche audience, its release turns out to be quite timely.

A day or two after I saw the film, the “controversy” over the Rolling Stone Boston bomber cover was all over the media. I couldn’t help but immediately draw a parallel with the flak that Arendt received in 1960 because she dared suggest that Evil doesn’t necessarily wear horns and carry a pitchfork. There’s something about that simple fact what really pisses some people off. Go figure.

Mockumentary, Sci-Fi, Social Satire

The electric Kool-Aid Turing test: Computer Chess ***1/2

September 16, 2015 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 27, 2013)

One of my guilty pleasures from the 1980s is an endearingly dated romantic comedy, Electric Dreams. It’s an age-old story…you know, the one where the nerdy protagonist buys himself one of those newfangled home computers and promptly shorts it out by spilling a drink on the keyboard, which unexpectedly transmogrifies the unit into an ersatz HAL-9000, which then becomes his rival for the affections of the cute upstairs neighbor babe (oh, how many times have we heard that one?). If you’re like me (isn’t everyone?), and would like to believe “that totally could happen” you have the perfect mindset for Andrew Bujalski’s off-kilter 80s retro-style mockumentary, Computer Chess.

Conjuring verisimilitude via a vintage B&W video camera (which makes it seem as if you’re watching events unfold on a slightly fuzzy closed-circuit TV), Bujalski “documents” a weekend-long tournament where nerdy computer chess programmers from all over North America assemble once a year to match algorithmic prowess.

Not unlike a Christopher Guest satire, Bujalski mixes up a bevy of idiosyncratic characters, like the boorish independent programmer Michael Papageorge (Myles Paige), who wanders the hotel halls at night like a Flying Dutchman, knocking on random doors to see if anyone would let him crash on their floor. He seems particularly fixated on getting into the room occupied by shy Shelly (Robin Schwartz), the only female programmer (about whom the conference chairman gushes to the crowd: “M.I.T. has a lady on their team this year!”). Shelly wisely spurns his creepy advances, preferring to hang with kindred spirit Peter (Patrick Reister), who works for a rival team headed by the enigmatic Professor Schoesser (Gordon Kindlmann).

It’s a particularly busy weekend at the hotel; they are also hosting a couples retreat, led by “a real African” therapist, who puts his clients through some classic New Age exercises (further accentuating the vibe of 80s nostalgia). In one of the film’s most amusing scenes, the ever-wandering Papageorge gets roped into a “rebirthing” session (“He’s crowning! He’s crowning!” ecstatic group members joyously exclaim as they “deliver” the spiritually reconstituted Papageorge, who later gloats to himself about getting his “catharsis for free”).

Another highlight borne of this oil and water mix: The painfully shy (and, we assume, virginal) Peter nearly gets sweet-talked into a ménage a trois with one of the couples after the wife gently admonishes him to metaphorically break free of the chessboard’s 64 squares and open himself to Life’s infinite possibilities.

However, just when you think you’ve got the film sussed as a gentle satirical jab at computer geek culture, things really start to get weird. And then they get even weirder. In fact, the final third (and Bujalski’s overall deadpan sensibility) stirred up memories of Slava Tsukerman’s 1982 cult curio, Liquid Sky.

While this marks the director’s fourth effort, it’s only the second Bujalski film I have seen other than his 2002 debut, Funny Ha Ha, a hit and miss affair which holds the dubious distinction as the prototype for the “mumblecore” genre (I remember when it was called “actors with bad elocution”). So based on the two I have seen, this is my favorite. I could watch it again; there’s a lot more going on than first meets the eye (pay close attention to the Blade Runner-inspired final shot!). There’s nothing else quite like it in theaters right now.