Category Archives: Sci-Fi

Tribeca 2021: Settlers (***)

June 20, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 19. 2021)

Writer-director Wyatt Rockefeller’s sci-fi drama is Once Upon a Time in the West on Mars. The story centers on 9-year-old Remmy (Brooklyn Prince), who lives with her settler parents (Sofia Boutella and Jonny Lee Miller) at a remote homestead. Following an attack by hostile parties and subsequent arrival of a drifter who claims that the homestead rightfully belongs to him, Sofia’s life (as well as the family’s dynamic) changes drastically. The story takes place over a 9-year period; with Nell Tiger Free playing 18-year-old Remmy. Not wholly original, but smartly written and well-acted, with great production design and cinematography (exteriors were filmed in South Africa).

Cult Movie, Dystopian, Sci-Fi

SIFF 2021: Strawberry Mansion (**1/2)

April 12, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 10, 2021)

This sci-fi tale depicts a dystopian near-future where the government has figured a way to collect taxes on the unconscious. A hangdog tax man (Kentucker Audely, who co-wrote with director Albert Birney) who specializes in auditing people’s dreams calls on an aging, free-spirited artist (Penny Fuller) to paw through her dusty collection of dream archives, which are housed on VHS tapes.

As the glum bureaucrat watches her dreams, he finds that he can interact with her younger self, with whom he begins to fall in love (Brainstorm meets Harold and Maude). There’s also a subplot about a virus that invades your dreams with product placements (similar to the “blipverts” in the Max Headroom series). The movie has a few inspired scenes but feels too derivative of films like The Lathe of Heaven, Paprika, and Dreamscape.

Comedy, Drama, Heist Caper, Sci-Fi

R.I.P. George Segal

March 29, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 27, 2021)

I was saddened to learn of George Segal’s passing earlier this week. I confess up front that I have zero awareness of his latter-career television work; but then again, I haven’t followed any network sitcoms with much interest since Seinfeld went off the air in 1998.

For me Segal’s visage will be forever associated with a streak of memorable film roles from the mid-60s through the late 70s (perusing his credits on the Internet Movie Database, I realized that apart from David O. Russell’s 1996 comedy Flirting with Disaster I have not seen any of Segal’s big screen work beyond Lost and Found (Melvin Frank’s disappointing 1979 sequel to his own 1973 romantic comedy A Touch of Class).

I will remember him for his masterful comic timing (he was the king of the reaction shot) but he also had great drama chops. He was also a decent banjo player (I searched in earnest for any instance where he may have jammed with Steve Martin…but alas, if it did happen, there is no extant footage). Here are my top 10 George Segal recommendations:

Bye Bye Braverman – Viewer caution: This film contains graphic depictions of extreme Jewishness (I’m allowed to say that…I’ve lived it). A lesser-known gem from Sidney Lumet, this 1968 comedy-drama follows the escapades of four Manhattan intellectuals (Segal, Joseph Wiseman, Jack Warden and Sorrell Booke) who pile into a red Beetle and spend a Sunday afternoon schlepping around Brooklyn searching for the funeral of a mutual friend who dropped dead following a coronary. Much middle-age angst ensues.

Episodic but bolstered by wonderful performances and several memorable scenes. My favorite involves a fender-bender with the great Godfrey Cambridge, playing a fast-talking cabbie who has converted to Judaism. Another great segment features Alan King as a rabbi giving an off-the wall eulogy. A scene where Segal delivers a soliloquy about modern society while strolling through a vast cemetery will now have added poignancy.

The screenplay was adapted from Wallace Markfield’s novel by Herb Sargent, who later become a top writer for Saturday Night Live from 1975-1995. Also in the cast: Phyllis Newman, Zohra Lampert and Jessica Walter (who also passed away this week, sadly).

California Split – While it has its share of protracted scenes and an unhurried, naturalistic rhythm you expect from Robert Altman, I think this 1974 comedy-drama is the director’s tightest, most economical film; I would even venture it’s damn near perfect.

A pro gambler (Elliot Gould) and a compulsive gambler with a straight day job (Segal) bond after getting roughed up and robbed by a sore loser and his pals in a poker parlor parking lot. Gould invites Segal to sleep over at his place, a house he shares with two self-employed sex workers (Ann Prentiss and Gwen Welles). The men become gambling buddies. Soon they are mutual enablers, spiraling down the rabbit hole of their addiction.

The film doubles as a beautifully acted character study and a fascinating, documentary-like dive into the myopic, almost subterranean subculture of the degenerate gambler. As Roger Ebert put it so beautifully in his original review of the film: “This movie has a taste in its mouth like stale air-conditioning, and no matter what time it seems to be, it’s always five in the morning in a second-rate casino.” Perceptive screenplay by actor Joseph Walsh, who also has a great cameo as a menacing loan shark.

The Hot Rock– Although it starts out as a by-the-numbers diamond heist caper, this 1972 Peter Yates film delivers a unique twist halfway through: the diamond needs to be stolen all over again (so it’s back to the drawing board). There’s even a little political intrigue in the mix. The film boasts a William Goldman screenplay (adapted from a Donald E. Westlake novel) and a knockout cast (Segal, Robert Redford Zero Mostel, Ron Leibman, Paul Sand and Moses Gunn). Redford and Segal make a great team, and the film finds a nice balance between suspense and humor. Lots of fun.

Loving – American Beauty meets The Prisoner of Second Avenue in this 1970 sleeper, directed by the eclectic Irvin Kershner (A Fine Madness, The Flim-Flam Man, Eyes of Laura Mars, Never Say Never Again). Segal is in his element as a freelance commercial illustrator and suburban dad on the verge of a nervous breakdown. Dissatisfied with his own work, on the rocks with both his wife (Eva Marie Saint) and his Manhattan mistress (Janis Young), he’s fighting an existential uphill battle trying to keep everyone in his life happy.

The story builds slowly, culminating in a near-classic party scene up there with the one in Hal Ashby’s Shampoo. Patient viewers will notice the film is well constructed and despite being made 50 years ago, still has much to say about modern manners and mores (all in the space of 90 minutes). The intelligent screenplay was adapted from J.M. Ryan’s novel by Don Devlin.

The Owl and the Pussycat – Segal plays a reclusive, egghead NYC writer and Barbra Streisand is a perfect foil in one of her best comedic turns as a profane, boisterous sex worker in this classic “oil and water” farce, directed by Herbert Ross. Serendipity throws the two odd bedfellows together one fateful evening, and the resulting mayhem is crude, lewd, and funny as hell. Buck Henry adapted his screenplay from Bill Manhoff’s original stage version. Robert Klein is wonderfully droll in a small but memorable role. My favorite line: “Doris…you’re a sexual Disneyland!”

The Terminal Man – Paging Dr. Jekyll! Segal is excellent in the lead as a gifted computer scientist who has developed a neurological disorder which triggers murderously psychotic blackout episodes. He becomes the guinea pig for an experimental cure that requires a microchip to be planted in his brain to circumvent the attacks.

Although it’s essentially “sci-fi”, this 1974 effort shares some interesting characteristics with the post-Watergate paranoid political thrillers that all seemed to propagate around that same time (especially The Parallax View, which also broached the subject of mind control). Director Mike Hodges (who directed the original version of Get Carter) adapted his screenplay from Michael Crichton’s novel.

A Touch of Class – Directed by Melvin Frank (The Court Jester, A Funny Thing Happened on the Way to the Forum) this 1973 film was co-written by the director with Jack Rose and Marvin Frank. Segal and Glenda Jackson make a great comedy tag team as a married American businessman and British divorcee who, following two chance encounters in London, realize there’s a mutual attraction and embark on an affair. The best part of the film concerns the clandestine lovers’ first romantic getaway on a trip to Spain. The story falters a bit in the third act, when it begins to vacillate a little clumsily between comedy and morality tale, but when it’s funny, it’s very funny.

Where’s Poppa? – If you are easily offended, do not go anywhere near this film. But if you believe nothing is sacred in comedy and enjoy laughing so hard that you plotz-see it.

Where do I start? Carl Reiner’s 1970 black comedy (adapted by Robert Klane from his own novel) concerns a New York City attorney (Segal) who lives in a cramped apartment with his senile mother (Ruth Gordon). Honoring a deathbed promise to his dearly departed poppa, Segal takes care of his mother (well, as best he can). She is a…handful.

The beleaguered Segal’s day begins with prepping his mother’s preferred breakfast of 6 orange slices and a heaping bowl of Pepsi and Lucky Charms (interestingly, in California Split Segal himself is served a breakfast of beer and Fruit Loops by the two sex workers).

His businessman brother (Ron Leibman) is too “busy” to help, so Segal must hire nurses to take care of ma while he’s at work. Unfortunately, she has a habit of driving them away with her over-the-top behavior. When Segal falls head-over-heels in love with the latest hire (Trish Van Devere, in a priceless performance), his thoughts about how he’s going to “take care” of ma and keep this blossoming romance abloom become…darker.

Segal was rarely so hilariously exasperated as he gets here, it’s Gordon’s best (and most outrageous) comic performance, and the supporting cast (which includes Barnard Hughes, Vincent Gardenia, Paul Sorvino and Garrett Morris) is aces. Again, this film is not for all tastes (it would never get green-lighted now) …but rates as one of my all-time favorite comedies.

Who’s Afraid of Virginia Woolf? – If words were needles, university history professor George (Richard Burton) and his wife Martha (Elizabeth Taylor) would look like a pair of porcupines, because after years of shrill, shrieking matrimony, these two have become maestros of the barbed insult, and the poster children for the old axiom, “you only hurt the one you love”. Mike Nichols’ 1966 directing debut (adapted by Ernest Lehman from Edward Albee’s Tony-winning stage play) gives us a peek into one night in the life of this battle-scarred middle-aged couple.

After a faculty party, George and Martha invite a young newlywed couple (Segal and Sandy Dennis) over for a nightcap. As the ever-flowing alcohol kicks in, the evening becomes a veritable primer in bad human behavior. It’s basically a four-person play, but these are all fine actors, and the writing is the real star of this piece.

Here are some additional George Segal films worth a look:

King Rat (1965; WW2 drama, dir. Bryan Forbes)

The Quiller Memorandum (1966; Cold War spy thriller, dir. Michael Anderson)

Blume in Love (1973; romantic comedy-drama, dir. Paul Mazursky)

The Duchess and the Dirtwater Fox (1976; western comedy, dir. Melvin Frank)

Fun with Dick and Jane (1977; crime caper/social satire, dir. Ted Kotcheff)

Who is Killing the Great Chefs of Europe? (1978; comedy-mystery, dir. Ted Kotcheff)

Flirting with Disaster (1996; comedy, dir. David O. Russell)

Adventure, Gangsters, Sci-Fi, Spy vs Spy

Connery from A to Zed

November 9, 2020 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on November 7, 2020)

I’m posting a belated tribute to Sean Connery, who passed away last week (on Halloween, no less). I already had a post planned for last Saturday, and as you may have heard there was an election thingy going on all this week that I’ve found a bit …distracting.

There’s not much of a revelatory nature I can add to the plethora of tributes that have poured in since, except to acknowledge that being of “a certain age”, Connery was a figure who loomed large in my personal pop culture iconography (I can still remember my excitement when I received a “Goldfinger” board game for Hanukah when I was 10).

He was, and will likely always be, the definitive James Bond of course; but he did tackle a number of other roles during his career well outside the realm of the suave secret agent.

With that in mind, and a nod to Bond’s service number, here are my top 7 Connery films.

The Anderson Tapes – In Sidney Lumet’s gritty 1971 heist caper, Sean Connery plays an ex-con, fresh out of the joint, who masterminds the robbery of an entire NYC apartment building. What he doesn’t know is that the job is under close surveillance by several interested parties, official and private. To my knowledge it’s one of the first films to explore the “libertarian’s nightmare” aspect of everyday surveillance technology (in this regard, it is a pre-cursor to Francis Ford Coppola’s paranoiac 1974 conspiracy thriller The Conversation).

Also on board are Dyan Cannon, Martin Balsam, Ralph Meeker, Alan King and Christopher Walken (his first major film role). The smart script was adapted from the Lawrence Sanders novel by Frank Pierson, and Quincy Jones provides the score.

Goldfinger – While you can’t really go wrong adding any of the first four James Bond entries to a “best of Connery” filmography (Dr. No, From Russia With Love, Goldfinger, or Thunderball), if I had to choose one as my desert island disc, I’d go with Goldfinger.

This was the first of the four Bond films directed by Guy Hamilton (he also helmed Diamonds Are Forever, Live and Let Die, and The Man With the Golden Gun). Paul Dehn’s screenplay (co-adapted by Johanna Harwood from Ian Fleming’s novel) is infinitely quotable (“No, Mr. Bond…I expect you to die!” “I never joke about my work, 007.” “You can turn off the charm. I’m immune.” “Shocking …positively shocking!”).

From its classic opening theme (belted out by Shirley Bassey), memorable villain (played to the hilt by Gert Frobe), iconic henchman (Harold Sakata as Goldfinger’s steel-rimmed bowler tossing bodyguard “Oddjob”) and the best Bond girl ever (Honor Blackman as Pussy Galore) to Q’s tricked-out Aston-Martin (with smoke screen, oil slick, rear bullet shield, revolving license plates, machine guns and my favorite – the passenger ejector seat), this will always be the quintessential 007 adventure for me.

The Man Who Would Be King – Look in the dictionary under “ripping yarn” and you’ll find this engaging adventure from 1975, co-adapted by director John Huston with Gladys Hill from Rudyard Kipling’s short story. Stars Sean Connery and Michael Caine have great chemistry as a pair of British army veterans who set their sights on plundering an isolated kingdom in the Hindu Kush. At least that’s the plan.

Before all is said and done, one is King of Kafiristan, and the other is covering his friend’s flank while both scheme how they are going pack up the treasure and make a graceful exit without losing their heads in the process. As it is difficult for a king to un-crown himself, that is going to take one hell of a soft shoe routine. In the realm of “buddy films”, the combined star power of Connery and Caine has seldom been equaled (only Redford and Newman come to mind). Also with Christopher Plummer and Saeed Jaffrey.

Marnie – I know it’s de rigueur to tout Vertigo as Alfred Hitchcock’s best “psychological thriller”, but my vote goes to this underrated 1964 film, which I view as a slightly ahead-of-it’s-time precursor to dark, psycho-sexual character studies along the lines of Roman Polanski’s Repulsion and Robert Altman’s That Cold Day in the Park.

Tippi Hedren stars as an oddly insular young woman who appears to suffer from kleptomania. Sean Connery is a well-to-do widower who hires Marnie to work for his company, despite his prior knowledge (by pure chance) of her tendency to steal from her employers. Okay, he’s not blind to the fact that she’s a knockout, but he also finds himself drawn to her as a kind of clinical study. His own behaviors slip as he tries to play Marnie’s employer, friend, lover, and armchair psychoanalyst all at once. One of Hitchcock’s most unusual entries, bolstered by Jay Presson Allen’s intelligent screenplay.

Robin and Marian – Richard Lester’s elegiac take on the Robin Hood legend features one of Connery’s most nuanced performances. The 1976 comedy-adventure boasts a witty and literate screenplay by James Goldman (The Lion in Winter, They Might Be Giants) music by John Barry (whose name is synonymous with Bond films) and a marvelous cast that includes Audrey Hepburn (Maid Marian), Robert Shaw (the Sherriff of Nottingham), Richard Harris, Nicol Williamson, Denholm Elliott, and Ian Holm.

20 years after Robin and his merry band had their initial run-ins with Prince John and his henchman, the Sherriff of Nottingham, our Crusades-weary hero has returned to England accompanied by Little John (Williamson). Eager to reunite with his ladylove Marian, Robin is chagrined to learn that she has gotten herself to a nunnery. This is the first of many hurdles for the middle-aged (and more introspective) swashbuckler; but he is determined to have one last hurrah. Connery and Hepburn are simply wonderful together.

The Untouchables – Sean Connery delivers one of his last truly great performances in Brian De Palma’s 1987 crime drama. While the film bears little resemblance to the late 50s TV show, it is loosely based on the same real-life memoirs of U.S. Treasury agent Elliot Ness, who helped the government build a case against mobster Al Capone in 1929.

Connery plays Jim Malone, a hard-boiled Chicago cop recruited by Ness (Kevin Costner) to be part of an elite squad of T-men who are tasked with bringing down the various criminal enterprises run by Capone (a scenery-chewing Robert De Niro) by any means necessary. Also on the team: Charles Martin Smith and Andy Garcia. Patricia Clarkson plays Ness’ wife. Billy Drago is memorable as Capone’s sneering hit man Nitti. Well-paced, sharply written (by David Mamet) and stylishly directed by De Palma (a climactic shootout filmed in Chicago’s Union Station is a mini masterpiece of staging and editing).

Zardoz – I suspect my inclusion of John Boorman’s 1974 spaced-out oddity as one of Sean Connery’s “best” films will raise an eyebrow or two, but as I’ve admitted on more than one occasion-there’s no accounting for some people’s taste! Once you get past sniggering over Connery’s costume (a red loincloth/diaper accessorized by a double bandolier and thigh-high go-go boots), this is an imaginative fantasy-adventure for adults.

Set in the year 2293 (why not?), Boorman’s story centers on thuggish but natively intelligent Zed (Connery) who roams the wastelands of a post-apocalyptic Earth with his fellow “Brutals” killing and pillaging with impunity. This all-male club worships a “god” named Zardoz, who speaks to them via a large flying stone head, which occasionally touches down so they can fill it with stolen grain. In exchange, Zardoz spews out rifles like a giant Pez dispenser, while intoning his #1 tenet “The gun is good, the penis is evil.”

One day Zed manages to stow away in the head just before takeoff, and when it lands he finds himself in the invisible force-field protected “Vortex”, where the elite “Eternals” live a seemingly idyllic and Utopian life that is purely of the mind. Bemused and fascinated by this “specimen” from the outside world, one of the Eternals “adopts” Zed is as his Man Friday while his fate is being debated. But who is really studying who?

Boorman’s story takes some inspiration from HG Wells’ The Time Machine, as well as another classic fantasy that becomes apparent in the fullness of the narrative, but it still stands out from the pack for sheer weirdness. There are also parallels to A Boy and His Dog (another film I’ve seen an unhealthy number of times).

In a way the “Eternals”-what with their crystals, pyramids, and hippy-dippy philosophical musings, presage the New Age Movement. Also, they pass judgement on anyone in their collective suspected of having “negative thoughts” with a telepathic vote; if found guilty the accused is “aged” to drooling dotage and banished from the community (that’s social media in a nutshell!).

On Politics, On Pop Culture, Sci-Fi

Notes from Ground Zero…and The Twilight Zone

March 9, 2020 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 7, 2020)

The tools of conquest do not necessarily come with bombs and explosions and fallout. There are weapons that are simply thoughts, attitudes, prejudices…to be found only in the minds of men. For the record, prejudices can kill…and suspicion can destroy…and a thoughtless, frightened search for a scapegoat has a fallout all of its own – for the children and the children yet unborn. And the pity of it is that these things cannot be confined to the Twilight Zone.

– Narrator’s epilogue from “The Monsters are Due on Maple Street” (1960 episode of The Twilight Zone) original teleplay by Rod Serling

A few days ago, this Tweet by NBC news journalist Richard Engel caught my attention:

Coughobia. coughing can be healthy. It’s a clearing of the airways. I have a son who struggles to cough on his own. It’s a major problem. Tdy, got an email from a woman with allergies, says she terrifies people when she sniffles. societal pressures, emerging part of virus story.

— Richard Engel (@RichardEngel) March 3, 2020

Now here was an angle on the Coronavirus crisis that I hadn’t given much thought to. Engel makes a very salient point about “social” side effects of pandemic panic. Many people are prone to allergies or suffer from non-viral chronic respiratory conditions who will be (or already are) getting dirty looks when they’re out and about. I’ve been worried about this myself for several days; the apple and cherry trees have begun to blossom, and (right on schedule) so has my usual reaction: sneezing fits, runny nose and dry coughing.

I currently live in fear of mob retribution should I fail to suppress a sneeze in an elevator.

On the flip side, I must come clean and plead guilty to feeding the monster myself. Earlier this week I was waiting in line at the drug store. Standing in front of me was a man and his young daughter (I’d guess she was around 7 or 8 years old). She was doing the fidget dance. Just as she twirled around to face in my direction, she emitted a fusillade of open-mouthed coughs. I jumped back like James Brown, nearly colliding with the person standing behind me (we’re all a tad “jumpy” in Seattle just now). For a few seconds, I was seeing red and nearly said something to her dad, who was too busy futzing around with his cell phone to notice his Little Typhoid Mary’s St. Vitus Dance of Death.

Thankfully, my logical brain quickly wrested the wheel from my lizard brain, and I thought better of making a scene. After all she was just a little girl, bored waiting in line.

A lot of sociopolitical fallout from pandemic panic has been on display in recent weeks: fear of the “other” (ranging from unconscious racial profiling to outright xenophobia), disinformation, fear mongering, and the good old reliable standbys anxiety and paranoia.

This got me thinking about one my favorite episodes of the original Twilight Zone, “The Monsters Are Due on Maple Street”. Scripted by series creator Rod Serling, the episode premiered in 1960. I re-watched it today and was struck by how tight Serling’s teleplay is; any aspiring dramatist would do well to study it as a masterclass in depth and brevity.

**** SPOILERS AHEAD ****

The story opens under blue suburban skies of Maple Street, U.S.A. in a neighborhood straight outta Leave it to Beaver where the residents are momentarily distracted from their lawn mowing and such by the overhead rumble and flash of what appears to be a meteor streaking though the sky. However, this brief anomaly is only the prelude to a more concerning turn of events: a sudden power outage coupled with an inexplicable shutdown of anything gas-powered, from lawn mowers to automobiles. Concern builds.

This precipitates an impromptu community meeting in the middle of the block, as residents start to speculate as to what (or who) could be to blame for these odd events. A young boy takes center stage. An avid sci-fi comic book fan, he regales the adults with a tale he read recently about an alien invasion. In the story, the invaders infiltrate towns by embedding a family in each neighborhood, until the time is right to “take over” en masse.

The seed has been planted; fear, distrust and paranoia spreads through the block like wildfire, becoming increasingly more palpable with the diminishing daylight. By nightfall, anarchy reigns, and once-friendly neighbors have turned into a murderous mob.

The camera pulls away further and further from the shocking mayhem occurring on Maple Street to a “God’s-eye” view, where we become aware of two shadowy observers (who are obviously the alien invaders). After absorbing the ongoing scenario, one asks the other “And this pattern is always the same?” “With a few variations,” his companion intones with a clinical detachment, adding “They pick the most dangerous enemy they can find, and it’s themselves.” Cue Mr. Serling’s equally omniscient epilogue (top of post).

Obviously, when Serling wrote the piece he was referring at the time to the Red Scare; America and Russia were at the height of the Cold War and nuclear paranoia was rampant among the general populace (in the episode, a character sarcastically refers to himself as a “Fifth Columnist” when accused of being an alien invader by his neighbors).

That said, Serling’s script (like much of his work) is “evergreen”. With its underlying themes about mob psychology, scapegoating, and humanity’s curious predilection to eschew logic and pragmatism for fear and loathing, the “message” is just as relevant now.

Keep your head, be a good neighbor, and don’t forget to wash your hands for 20 seconds.

Biopic, Documentary, Drama, Sci-Fi

Ten years gone: Top 10 films of the last decade

January 27, 2020 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 25, 2020)

Really? Another decade slipped by again when I wasn’t looking? This seems as good a time as any to reflect back on the 400+ first-run films I reviewed between 2010 and 2019 and share my picks for the top 10 of the past 10 years. Happy viewing! Alphabetically…

Black KkKlansman –So what do you get if you cross Cyrano de Bergerac with Blazing Saddles? You might get Spike Lee’s Black KkKlansman. That is not to say that Lee’s film is a knee-slapping comedy; far from it. Lee takes the true story of Ron Stallworth (John David Washington), an African-American undercover cop who managed to infiltrate the KKK in Colorado in the early 70s and runs with it, in his inimitable fashion.

I think this is Lee’s most affecting and hard-hitting film since Do the Right Thing (1989). The screenplay (adapted by Charlie Wachtel, David Rabinowitz, Kevin Willmott and Lee from Stallworth’s eponymous memoir) is equal parts biopic, docudrama, police procedural and social commentary, finding a nice balance of drama, humor and suspense.

(Full review)

Blade Runner: 2049 – So many films passing themselves off as “sci-fi” these days are needlessly loud and jarringly flash-cut. Not this one. Which is to say that Blade Runner 2049 is leisurely paced. The story is not as deep or complex as the film makers want you to think. The narrative is essentially a 90-minute script (by original Blade Runner co-screenwriter Hampton Fancher and Michael Green), stretched to a 164-minute run time.

So why is it on my top 10 list? Well, for one thing, the “language” of film being two-fold (aural and visual), the visual language of Blade Runner 2049 is mesmerizing and immersive. I imagine the most burning question you have about Denis Villeneuve’s film is: “Are the ‘big’ questions that were left dangling at the end of Ridley Scott’s 1982 original answered?” Don’t ask me. I just do eyes. You may not find the answers you seek, but you may find yourself still thinking about this film long after the credit roll.

(Full review)

Certified Copy – Just when you’re being lulled into thinking this is going to be one of those brainy, talky, yet pleasantly diverting romantic romps where you and your date can amuse yourselves by placing bets on “will they or won’t they-that is, if they can both shut up long enough to get down to business before the credits roll” propositions, Iranian director Abbas Kiarostami throws you a curve-ball. Then again, maybe this film isn’t so much about “thinking”, as it is about “perceiving”. Because if it’s true that a “film” is merely (if I may quote Orson Welles) “a ribbon of dreams”-then Certified Copy, like any true work of art, is simply what you perceive it to be-nothing more, nothing less. Even if it leaves you scratching your head, you get to revel in the luminosity of Juliette Binoche’s amazing performance; there’s pure poetry in every glance, every gesture.

(Full review)

Computer Chess – The most original sci-fi film of 2013 proved you don’t need a $300 million budget and 3-D technology to blow people’s minds. For his retro 80s-style mockumentary, Andrew Bujalski finds 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), and “documents” a 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 throws idiosyncratic characters into a jar, and then steps back to watch. Just when you think you’ve got the film sussed as a gentle satirical jab at computer geek culture, things get weird…then weirder. Dig that final shot!

(Full review)

The Grand Budapest Hotel – In the interest of upholding my credo to be forthright with my readers (all three of you), I will confess that, with the exception of his engaging 1996 directing debut, Bottle Rocket, and the fitfully amusing Rushmore, I have been somewhat immune to the charms of writer-director Wes Anderson. To me, “a Wes Anderson film” is the cinematic equivalent to Wonder Bread…bland product, whimsically wrapped.

At the risk of making your head explode, I now have a second confession. I kind of enjoyed The Grand Budapest Hotel. I can’t adequately explain what happened. The film is not dissimilar to Anderson’s previous work; in that it is akin to a live action cartoon, drenched in whimsy, expressed in bold primary colors, populated by quirky characters (who would never exist outside of the strange Andersonian universe they live in) caught up in a quirky narrative with quirky twists and turns (I believe the operative word here, is “quirky”). So why did I like it? I cannot really say. My conundrum (if I may paraphrase one of my favorite lines from The Producers) would be this: “Where did he go so right?”

(Full review)

Love and Mercy – Paul Dano’s Oscar-worthy performance as the 1960s era Brian Wilson is a revelation, capturing the duality of a troubled genius/sweet man-child to a tee. If this were a conventional biopic, this would be “good enough” as is. But director Bill Pohlad (and screenwriters Oren Moverman and Michael A. Lerner) make this one go to “11”, by interpolating Brian’s peak period with his bleak period…the Dr. Eugene Landy years (early 80s through the early 90s). This “version” of Brian is played by John Cusack, who has rarely been better; this is a real comeback performance for him. There are no bad performances in this film, down to the smallest parts. I usually try to avoid hyperbole, but I’ll say it: This is one of the best rock’n’roll biopics I’ve seen in years.

(Full review)

The Master – As Inspector Clouseau once ruminated, “Well you know, there are leaders…and there are followers.” At its most rudimentary level, Paul Thomas Anderson’s film is a two-character study about a leader and a follower (and metaphorically, all leaders and followers). It’s also a story about a complex surrogate father-son relationship (a recurring theme in the director’s oeuvre). And yes, there are some who feel the film is a thinly disguised take-down of Church of Scientology founder L. Ron Hubbard. I found it to be a thought-provoking and startlingly original examination of why human beings in general are so prone to kowtow to a burning bush, or an emperor with no clothes; a film that begs repeated viewings. One thing’s for sure- the late Philip Seymour Hoffman and Joaquin Phoenix deliver a pair of knockout performances. Like all of Anderson’s films, it’s audacious, sometimes baffling, but never dull.

(Full review)

Once Upon a Time in Hollywood – “Surely (you’re thinking), a film involving the Manson Family and directed by Quentin Tarantino must feature a cathartic orgy of blood and viscera…amirite?” Sir or madam, all I can tell you is that I am unaware of any such activity or operation… nor would I be disposed to discuss such an operation if it did in fact exist, sir or madam. What I am prepared to share is this: Leonardo DiCaprio and Brad Pitt have rarely been better, Margot Robbie is radiant and angelic as Sharon Tate, and 9-year-old moppet Julia Butters nearly steals the film. Los Angeles gives a fabulous and convincing performance as 1969 Los Angeles. Oh, and Once Upon a Time in Hollywood is now my favorite “grown-up” Quentin Tarantino film (after Jackie Brown).

(Full review)

Samsara – Whether you see Ron Fricke’s film as a deep treatise on the cyclic nature of the Omniverse, or merely as an assemblage of pretty pictures, doesn’t amount to a hill of beans in this crazy world. The man who gave us the similar cinematic tone poems Chronos and Baraka drops a clue early on in his latest film, as we observe a group of Buddhist monks painstakingly creating a sand mandala (it must take days). At the very end of the film, we revisit the artists, who now sit in silent contemplation of their lovely creation. This (literal) Moment of Zen turns out to be the preface to the monks’ next project-the ritualistic de-construction of the painting (which I assume must take an equal amount of time). Yes, it is a very simple metaphor for the transitory nature of beauty, life, the universe and everything. But, as they say, there’s beauty in simplicity.

(Full review)

Your Name – I have sat through more than my fair share of “body swap” movies, but it’s been a while since I have experienced one as original and entertaining as Makoto Shinkai’s animated fantasy. The story concerns a teenage girl named Mitsuha, who lives in a bucolic mountain village, and a teenage boy named Taki, who resides in bustling Tokyo. They are separated by geography and blissfully unaware of each other’s existence, but they both share the heady roller coaster ride of hormone-fueled late adolescence, replete with all its attendant anxieties and insecurities. There’s something else that they share: a strange metaphysical anomaly. Or is it a dream? Sinkai’s film is a perfect blend of fantasy, sci-fi, mystery, comedy, coming-of-age tale, and old-fashioned tear-jerker (yes-I laughed, and cried). In short, it’s one of the best animes of recent years.

(Full review)

Sci-Fi, War

Blu-ray reissue: Slaughterhouse-Five (***1/2)

December 23, 2019 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 21, 2019)

Slaughterhouse-Five – Arrow Films

Slaughterhouse-Five – Film adaptations of Kurt Vonnegut stories have a checkered history; from downright awful (Slapstick of Another Kind) or campy misfires (Breakfast of Champions) to passable time killers (Happy Birthday, Wanda June and Mother Night). For my money, your best bets are Jonathan Demme’s 1982 PBS American Playhouse short Who Am I This Time? and this 1974 feature film by director George Roy Hill.

Michael Sacks stars as milquetoast daydreamer Billy Pilgrim, a WW2 vet who weathers the devastating Allied firebombing of Dresden as a POW. After the war, he marries his sweetheart, fathers a son and daughter and settles into a comfortable middle-class life, making a living as an optometrist.

A standard all-American postwar scenario…except for the part where a UFO lands on his nice, manicured lawn and spirits him off to the planet Tralfamadore, after which he becomes permanently “unstuck” in time, i.e., begins living (and re-living) his life in random order. Great performances from Valerie Perrine and Ron Leibman. Stephen Geller adapted the script.

Arrow’s 4K restoration is superb. Critic Troy Howarth contributes one of the more entertaining commentary tracks I’ve heard in a while. Extras include new interviews with Perry King (who played Billy Pilgrim’s son) and film music historian Daniel Schweiger.

Dystopian, Mystery, Sci-Fi

Blu-ray reissue: Alphaville (***)

December 23, 2019 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 21, 2019)

Related image

Alphaville – Kino-Lorber

The first time I saw this 1965 Jean-Luc Godard film I said to myself “WTF did I just watch?” I shrugged it off and forgot about it for about a decade. Then, a couple weeks ago I picked up a copy of this newly restored 4K Blu-ray and watched it a second time. This time, I said to myself, “Oh. I think I got it.” Then, after pausing a beat “No. I don’t got it.” Now bound and determined, I watched it AGAIN several days later.

This time, by George…I think I got it: Godard’s film, with its mashup of science fiction, film noir, dystopian nightmare and existential despair is a pre-cursor to Blade Runner, Dark City and Death and the Compass. The film stars American actor Eddie Constantine and Godard’s muse Anna Karina (Karina passed away just last week).

The image quality is superb, showcasing Nouvelle Vague veteran Raoul Coutard’s beautiful B &W photography. Extras include an audio commentary track by film historian Tim Lucas, and a recently taped 5 minute interview with the late Anna Karina.

Adventure, Cult Movie, Nuclear Paranoia, Sci-Fi

Blu-ray reissue: Godzilla: The Showa Era Films 1954-1975 (****)

December 16, 2019 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 14, 2019)

Godzilla: The Showa Era Films 1954-1975 – Criterion Collection

I admit that I was pretty, pretty excited when I heard about this 15-film box set. To which some of you are likely saying to yourself as you read this: “What are you, 8 years old?!” Well…as I once wrote in a short review of Godzilla vs. Hedora (aka Godzilla vs. the Smog Monster):

Who ever said an environmental “message” movie couldn’t also provide mindless, guilty fun? Let’s have a little action. Knock over a few buildings. Wreak havoc. Crash a wild party on the rim of a volcano with some Japanese flower children. Besides, Godzilla is on our side for a change. Watch him valiantly battle Hedora, a sludge-oozing toxic avenger out to make mankind collectively suck on his grody tailpipe. And you haven’t lived until you’ve heard “Save the Earth”-my vote for “best worst” song ever from a film (much less a monster movie).

OK, every Godzilla feature isn’t a “message” film; sometimes, a movie about a monster who emerges from the sea to knock shit over is just a movie about a monster knocking shit over until he gets bored and then slinks back into the sea (roll credits). But hey, those wonderfully unapologetic Japanese films with guys in monster suits knocking over model buildings and decimating toy tanks and toy fighter jets have never looked as sharp as this!

All 15 films in the series (which kicks off with 1954’s black and white classic Gojira and bookends with 1975’s Terror of Mechagodzilla) are presented in beautiful new HD transfers. I haven’t had a chance to explore all the extras yet, but they are plentiful. The 8 Blu-ray discs are housed in a hardcover book that includes beautiful graphics and essays on each film. Collectors should appreciate the overall space-saving design of the package.

Armageddon, Conspiracy a-go-go, Sci-Fi, The Space Race

Blu-ray reissue: The Andromeda Strain (****)

July 8, 2019 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 6, 2019)

The Andromeda Strain – Arrow Films Blu-ray

What’s the scariest monster? The one you cannot see. Robert Wise directs this 1971 sci-fi thriller, adapted from Michael Crichton’s best-seller by Nelson Gidding. A team of scientists race the clock to save the world from a deadly virus from outer space that replicates with alarming efficiency. The team is restricted to a hermetically sealed environment until they can figure a way to destroy the microbial intruder, making this film a nail-biter from start to finish.

Arrow has done an outstanding restoration job (sourced from a 4K scan of the original 35mm camera negative). The mono audio is clean and clear (highlighting Gil Melle’s electronic score). Extras include Bryan Reesman’s engaging commentary, critic appreciations, and more.