Tag Archives: 2017 Reviews

Let’s party like it’s 1929: Top 10 Great Depression Films

January 11, 2021 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on January 9, 2021)

I’m not running for office, so I’m not going to lie to you. It’s been a tough week. Not just for me, personally…but for Democracy and junk. Most of today, I was trying (really trying, gentle reader) to finish up a review for you of a couple of new films, but it wasn’t working. I haven’t been able to concentrate very well since the events of this past Wednesday. I just…can’t.

So I was texting with my pal Digby, to give her a heads up that I might just take a breather this week. Or perhaps I could just find something from my archives to recycle that would be apropos to the current news cycle. My first thought was “conspiracy a go-go”…but then I remembered I just recycled that one back in November on the anniversary of the JFK assassination. Besides, I don’t think we need to get that dark just now. “What about something on fascism?” (Digby helpfully texted). Yes! I thought. A capital idea (Capitol?).

And I’ll be damned if I didn’t find a post I published the day after the current occupant of the White House was inaugurated that makes a perfect bookend for the imminent denouement of said occupant’s rent-free overstayed welcome in our collective unconscious . Er, enjoy?

(Originally posted on Digby’s Hullabaloo on January 21, 2017)

Yesterday, after putting my head down on the desk for a spell (which I haven’t done since kindergarten), in order to process the inaugural address, I felt compelled to do a Google search using the key words “Fascism” and “ideal conditions” – and I found this:

Fascism begins by promising to make the country strong again, to restore pride. It wants to help, it wants to build a better country, it wants to improve your life. It wants to challenge a corrupt establishment and change a broken system. It wants to get people working again and get tough on crime. It doesn’t present an image of violent thugs to you, instead it shows the face of ordinary respectable people, people just like you, who have had enough. […]

So it starts with things a lot of people find attractive: national pride, restoration of glory, fighting the establishment. Then it pushes this further and further to the extreme. The nationalism becomes more extreme. Not only are we the best people, but all others are inferior. They only appear better because they cheat, they lie, they steal. The establishment is corrupt, the system is rigged, it is undeserving of support, it is illegitimate. The opponents are crooks, they should be put in jail. The media is suppressing the facts, censoring the truth, spreading lies, their dishonesty must be silenced. Democracy only leads to indecisive and ineffective politicians, it only elects liars too corrupt to serve the people. If only we had a strong and decisive ruler, then we could solve the country’s problems. Drastic problems require drastic solutions.

-from a post by Robert Nielsen (Whistling in the Wind blog)

The author is explaining how Fascism was able to flourish in Europe between the wars, but there are obvious parallels with the current political climate (in Europe and the U.S.).

So, with that cheery thought in mind, and in the interest of applying what I call cinematic aversion therapy, here’s my Top 10 Great Depression Movies. Study them well, because you know what “they” say: Those who do not understand history are doomed to repeat it.

Berlin Alexanderplatz- When you think of the Depression in terms of film and literature, it tends to vibe America-centric. In reality, the economic downturn between wars was a global phenomenon; things were literally “tough all over”. You could say Germany had a jumpstart (economically speaking, everything below the waist was kaput by the mid 1920s). In October of 1929 (interesting historical timing), Alfred Doblin’s epic novel Berlin Alexanderplatz was published, then adapted into a film in 1931 directed by Phil Jutzi.

It wasn’t until nearly 50 years later that the ultimate film version emerged as Rainer Werner Fassbinder’s 15 hour opus (made for German TV but also distributed as a feature film). It’s nearly impossible to encapsulate this emotionally draining epic in a few lines; it is by turns one of the most shocking, transcendent, maddening and soul-scorching films you’ll ever see. If that time investment is too daunting, you can always opt for Cabaret!

Bonnie and Clyde– The gangster movie meets the art house in this 1967 offering from director Arthur Penn. There is much more to this influential masterpiece than the oft-referenced operatic crescendo of violent death in the closing frames; particularly of note was the ingenious way its attractive antiheroes were posited to appeal to the counterculture zeitgeist of the 1960s, even though the film was ostensibly a period piece. The real Bonnie Parker and Clyde Barrow were nowhere near as charismatic as Faye Dunaway and Warren Beatty…but we don’t care, do we? The outstanding cast includes Gene Hackman, Estelle Parsons, Michael J. Pollard, and Gene Wilder in his movie debut.

Bound for Glory– “This machine kills Fascists”. There’s only one man to whom Pete Seeger, Bob Dylan and Bruce Springsteen must kowtow-and that’s Woody Guthrie. You can almost taste the dust in director Hal Ashby’s leisurely, episodic 1976 biopic about the life of America’s premier protest songwriter/social activist. David Carradine gives one of his finest performances, and does a credible job with his own singing and playing. Haskell Wexler’s outstanding cinematography earned him a well-deserved Oscar. The film may feel a bit overlong and slow in spots if you aren’t particularly fascinated by Guthrie’s story; but I think it is just as much about the Depression itself, and perhaps more than any other film on this list, it succeeds as a “total immersion” back to that era.

The Grapes of Wrath– I’m stymied for any hitherto unspoken superlatives to ladle onto John Ford’s masterful film or John Steinbeck’s classic source novel, so I won’t pretend to have any. Suffice it to say, this comes closest to nabbing the title as the quintessential film about the heartbreak and struggle of America’s “salt of the earth” during the Great Depression. Perhaps we can take (real or imagined) comfort in the possibility that no matter how bad things get over the next few months (years?), Henry Fonda’s unforgettable embodiment of Tom Joad will “be there…all around, in the dark.”

Inserts-If I told you that Richard Dreyfuss, Veronica Cartwright, Bob Hoskins and Jessica Harper once co-starred in an “X” rated movie, would you believe me? This largely forgotten 1976 film from director John Byrum was dismissed as pretentious dreck by many critics at the time, but 42 years on, it begs reappraisal as a fascinating curio in the careers of those involved.

Dreyfuss plays “Wonder Boy”, a Hollywood whiz kid director who peaked early; now he’s a “has-been”, living in his bathrobe, drinking heavily and casting junkies and wannabe-starlets for pornos he produces on the cheap in his crumbling mansion. Hoskins steals all his scenes as Wonder Boy’s sleazy producer, Big Mac (who is aptly named; as he has plans to open a chain of hamburger joints!). Set in 30s Hollywood, this decadent wallow in the squalid side of show biz is a perfect companion for The Day of the Locust.

King of the Hill– Steven Soderbergh’s exquisitely photographed film (somewhat reminiscent of Bogdanovich’s Paper Moon) is a bittersweet rendering of A.E. Hotchner’s Depression-era tale about young Aaron (Jesse Bradford) who lives with his parents and kid brother in a decrepit hotel. After his sickly mother (Lisa Eichhorn) is sent away for convalescence, his kid brother is packed off to stay with relatives, and his father (Jeroen Krabbe) hits the road as a traveling salesman, leaving Aaron to fend for himself.

The Grand Hotel-style network narrative provides a microcosm of those who live through such times. The film is full of wonderful moments of insight into the human condition. The cast includes Karen Allen, Adrian Brody, Elizabeth McGovern and Spaulding Gray.

Pennies From Heaven (Original BBC version)-I’ve always preferred the original 1978 British television production of this to the Americanized theatrical version released several years afterwards. Written by Dennis Potter (The Singing Detective), it is rife with the usual Potter obsessions: sexual frustration, marital infidelity, religious guilt, shattered dreams and quiet desperation…broken up by the occasional, incongruous song and dance number.

Bob Hoskins is outstanding as a married traveling sheet music salesman in Depression-era England whose life takes interesting Potter-esque turns once he becomes smitten by a young rural schoolteacher (Cheryl Campbell) who lives with her widowed father and two extremely creepy brothers. Probably best described as a film noir musical.

Sullivan’s Travels-A unique and amazingly deft mash-up of romantic screwball comedy, Hollywood satire, road movie and hard-hitting social drama that probably would not have worked so beautifully had not the great Preston Sturges been at the helm. Joel McCrea is pitch-perfect as a director of goofy populist comedies who yearns to make a “meaningful” film.

Racked with guilt about the comfortable bubble that his Hollywood success has afforded him and determined to learn firsthand how the other half lives, he decides to hit the road with no money in his pocket and “embed” himself as a railroad tramp (much to the chagrin of his handlers). He is joined along the way by an aspiring actress (Veronica Lake, in one of her best comic performances). His voluntary crash-course in “social realism” turns into more than he had bargained for.

Lake and McCrea have wonderful chemistry. The Coen Brothers borrowed the title of the fictional film within the film for their own unique take on the Depression, O Brother, Where Art Thou?

They Shoot Horses, Don’t They? – “Yowsa, yowsa, yowsa!” This richly decadent allegory about the human condition (adapted from Horace McCoy’s novel) is one of the grimmest and most cynical films ever made. Director Sydney Pollack assembled a crack ensemble for this depiction of a Depression-era dance marathon from Hell: Jane Fonda, Gig Young (who snagged a Best Supporting Actor Oscar), Susannah York, Bruce Dern and Red Buttons are all outstanding; Pollack even coaxes the wooden Michael Sarrazin into his finest performance. The powerful ending is devastating and difficult to shake off.

Thieves Like Us-This loose remake of Nicholas Ray’s 1949 film noir classic They Live by Night is the late Robert Altman’s most underrated film. It is often compared to Bonnie and Clyde, but stylistically speaking, the two films could not be farther apart. Altman’s tale of bank-robbing lovers on the lam (Keith Carradine and Shelley Duvall) is far less flashy and stylized, but ultimately more affecting thanks to a consistently naturalistic, elegiac tone throughout.

Carradine and Duvall really breathe life into their doomed couple; every moment of intimacy between them (not just sexual) feels warm, touching, and genuine-which gives the film real heart. Altman adapted the screenplay (with co-writers Joan Tewkesbury and Calder Willingham) from the same source novel (by Edward Anderson) that inspired Ray’s earlier film.

Cold War, Conspiracy a-go-go, Documentary, Historical drama

Shadowy men on a shadowy planet: Wormwood (***1/2)

January 1, 2018 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 30, 2017)

“Sir, 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.” – Captain Willard, from Apocalypse Now

“Boy…what is it with you people? You think not getting caught in a lie is the same thing as telling the truth?” – Joe Turner, from Three Days of the Condor

“Conscience doth make cowards of us all.” – From Hamlet, by William Shakespeare

When you peruse the history of the CIA (wait a sec…did I just hear a “click” on my phone?), at times it is indistinguishable from a campy 60s TV parody of the agency. Was there really a CIA psychotropic drugs research program called “MK-Ultra” (aka “Project Artichoke” and “Project Bluebird”) or am I conflating it with an episode of “Get Smart”?

Unfortunately, the MK-Ultra program would prove all too real for bacteriologist and former military officer Frank Olson. Olson had served as a captain in the Army’s Chemical Corps in the 1940s, which helped him snag a post-service civilian contract job with the Army’s Biological Warfare Laboratories (based out of Fort Detrick, Maryland).

Eventually Olson was recruited by the CIA to work with the agency’s Technical Services Staff, which led to his acquaintance with some of the architects of the aforementioned MK-Ultra research program. While on a retreat with a group of CIA colleagues in November of 1953, Olson was offered a drink that was spiked with an early form of LSD (unbeknownst to him). Just 10 days later, on the night of November 28^th, 1953, Olson fell to his death from the 13^th floor of a Manhattan hotel.

The NYPD called it suicide. And that was that. At least…that was the story at the time.

There is a lot more to this tale; specifically regarding what ensued during those critical 10 days between Olson’s LSD dosing at the retreat, and the evening that he died at the hotel.

Uncovering the details behind Olson’s demise has become an obsessive 60+ year quest for his son, Eric Olson. Eric’s relentless pursuit of the truth, a long slow white Bronco chase through the dark labyrinth of America’s clandestine community, makes for a hell of an interesting story in and of itself. This was not lost on documentary filmmaker Errol Morris, who delves deep into the mystery with his new Netflix docudrama, Wormwood.

Wormwood is essentially a 4-hour film divided into 6 episodes; with this sprawling running time, Morris has given himself lots of room to “delve”. Now, I feel that it’s my duty to advise you up front that “delving” into a mystery is not necessarily synonymous with “solving” it. So if you go in expecting pat answers, wrapped with a bow, I’m saving you 4 hours of your life now (and you’re welcome). However, if you believe the adage that it is not about the destination, but rather about the journey, feel free to press onward.

Morris has made many compelling documentaries, from his crtically acclaimed 1978 debut Gates of Heaven, to other well-received films like The Thin Blue Line (1988), A Brief History of Time (1991), and The Fog of War (2003).

Interestingly, in this outing Morris eschews his trademark “Inteterrotron”, which gives a sense that the interviewee is “confiding” directly to the viewer. Instead, Morris plunks himself across a table from his subjects and grills them, like they’ve stumbled into Sam Spade’s office. However, he does reprise his “reality thriller” formula (mixing interviews with speculative reenactments) which he essentially invented with The Thin Blue Line; although it has been so-often imitated that it now seems cliché.

While Morris’ penchant for this Rashomon-style construction in past projects has drawn criticism, it’s a perfect foil for Wormwood; because if there is one central takeaway from the series, it is this: when it comes to plausible deniability, the CIA has 50 shades of nay.

The “official” story as to what happened in that hotel room in September 1953 has been, shall we say, “fluid” over the years (all versions are recounted). Adding to the frustration for Olson’s surviving family members (as Eric Olson points out in the film), under current laws, any citizen may file a lawsuit against the U.S. government for negligence, but never for intent. Oops! Please pardon our negligence, just never mind our culpability.

The question of “culpability” feeds the conspiracy theory elements of the film; which Morris relays via the dramatic reenactments. These segments feature a melancholic Peter Sarsgaard, whose almost spectral characterization of Frank Olson haunts the proceedings like the ghost of Hamlet’s father.

This is no accident, as Morris and Eric Olson himself make frequent analogies to Shakespeare’s classic tragedy about a son who investigates the truth behind his father’s suspicious death (hence the title of the film, taken from an aside by Hamlet, who mutters “Wormwood, wormwood” in reaction to the Player Queen’s line in the play-within-the play “None wed the second but who killed the first.”).

The Bard would be hard pressed to cook up a tale as dark, debased and duplicitous. Morris sustains a sense of dread recalling Three Days of the Condor, The Parallax View, and The Conversation. Of course, those were fiction; Olson’s story is not. Shakespeare wrote: “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy.” Wormwood not only confirms this, but reminds us why we need folks like Eric Olson and Morris around to cast light into dark corners where the truth lies obscured.

Action, Biopic, Documentary, Drama, Sci-Fi

If you really must pry: Top 10 films of 2017

December 25, 2017 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 23, 2017)

With the year nearly over, ‘tis the season for my roundup of the top 10 feature films out of the 50+ that I reviewed in 2017. Granted, there are several intriguing late December releases that I have yet to see, including Paul Thomas Anderson’s The Phantom Thread, and the biopics I, Tonya and Film Stars Don’t Die in Liverpool. However, it appears those films will not be opening in Seattle in time for me to review them in 2017, so what you see here is my “official” top 10 list:

After the Storm – This elegant family drama from writer-director Hirokazu Kore-eda is a wise, quietly observant and at times genuinely witty take on the prodigal son story. All the performances are beautifully nuanced; particularly when star Hiroshi Abe and scene-stealer Kirin Kiki are onscreen. Kudos as well to DP Yutaka Yamazaki’s painterly cinematography, and Hanargumi’s lovely soundtrack. Granted, some could find the proceedings too nuanced and “painterly”, but those with patience will be richly rewarded.

Full review

Bad Black – Some films defy description. This is one of them. Yet…a guilty pleasure. Written, directed, filmed, and edited by Ugandan action movie auteur Nabwana I.G.G.at his self-proclaimed “Wakaliwood studios” (essentially his house in the slums of Wakaliga), it’s best described as Kill Bill meets Slumdog Millionaire, with a kick-ass heroine bent on revenge. Despite a low budget and a high body count, it’s winningly ebullient and self-referential, with a surprising amount of social realism regarding slum life packed into its 68 minutes. The Citizen Kane of African commando vengeance flicks.

Full review

Becoming Who I Was – Until credits rolled for this South Korean entry by co-directors Chang-Yong Moon and Jeon Jin, I was unsure whether I’d seen a beautifully cinematic documentary, or a narrative film with amazingly naturalistic performances. Either way, I experienced the most compassionate, humanist study this side of Ozu.

Turns out, it’s all quite real, and an obvious labor of love by the film makers, who went to Northern India and Tibet to document young “Rinpoche” Angdu Padma and his mentor/caregiver for 8 years as they struggle hand to mouth and strive to fulfill the boy’s destiny (he is believed to have been a revered Buddhist teacher in a past life). A moving journey (in both the literal and spiritual sense) that has a lot to say about the meaning of love and selflessness.

Full review

Image result for blade runner 2049

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 credits roll.

Full review

A Date for Mad Mary – The phrase “star-making performance” is overused, but it’s apt to describe Seana Kerslake’s turn in Darren Thornton’s dramedy about a troubled young woman who is being dragged kicking and screaming (and swearing like a sailor) into adulthood.

Fresh from 6 months in a Dublin jail for instigating a drunken altercation, 20 year-old “mad” Mary (Kerslake) is asked to be maid of honor by her BFF Charlene. Charlene refuses her a “plus-one”, assuming that her volatile friend isn’t likely to find a date in time for the wedding. Ever the contrarian, Mary insists that she will; leading to a completely unexpected relationship. The director’s screenplay (co-written with his brother Colin) is chockablock with brash and brassy dialog, and conveys that unique penchant the Irish possess for using “fook” as a noun, adverb, super verb and adjective.

Full review

Endless Poetry – Ever since his 1970 Leone-meets-Fellini “western” El Topo redefined the meaning of “WTF?, Chilean film maker/poet/actor/composer/comic book creator Alejandro Jodorowsky has continued to push the creative envelope. His new film, the second part of a “proposed pentalogy of memoirs”, follows young Alejandro (played by the director’s son Adan, who also composed the soundtrack) as he comes into his own as a poet.

Defying his nay-saying father, he flees to Santiago and ingratiates himself with the local bohemians. He caterwauls into a tempestuous relationship with a redheaded force of nature named Stella. What ensues is the most gloriously over-the-top biopic since Ken Russell’s The Music Lovers. This audacious work of art not only confirms that its creator has the soul of a poet, but stands as an almost tactile evocation of poetry itself.

Full review

I Am Not Your Negro – The late writer and social observer James Baldwin once said that “Whatever white people do not know about Negroes reveals, precisely and inexorably, what they do not know about themselves.” Sadly, thanks to the emboldening of certain elements within American society that have been drawn from the shadows by the openly racist rhetoric spouting from our nation’s current leader, truer words have never been spoken.

Indeed, anyone who watches Raoul Peck’s documentary will recognize not only the beauty of Baldwin’s prose, but the prescience of such observations. Both are on full display throughout Peck’s timely treatise on race relations in America, in which he mixes archival news footage, movie clips, and excerpts from Baldwin’s TV appearances with narration by an uncharacteristically subdued Samuel L. Jackson, reading excerpts from Baldwin’s unfinished book, Remember This House. An excellent and enlightening film.

Full review

Loving Vincent – If I liken Dorota Kobiela and Hugh Welchman’s first feature film to staring at an oil painting for 95 minutes…that could be misinterpreted as a negative. But I’m only making you aware that their Vincent van Gogh biopic is literally a collection of the artist’s paintings, brought to life. It’s actually an ingenious concept. Utilizing over 120 of van Gogh’s paintings as storyboard and settings, the filmmakers incorporate roto-scoped live action with a hand-painted, frame-by-frame touch-up to fashion a truly unique animated feature.

The screenplay (co-written by directors Kobiela and Welchman along with Jacek von Dehnel) was derived from 800 of the artist’s letters. It is essentially a speculative mystery that delves into the circumstances of van Gogh’s last days and untimely demise. While this is not the definitive van Gogh biopic (Vincente Minnelli’s colorful 1956 effort Lust For Life, featuring an intense and moving performance by Kirk Douglas, takes that honor), it is the most visually resplendent one that I’ve seen to date.

Full review

The Women’s Balcony – A warm, witty and wise Israeli dramedy from director Emil Ben-Shimon and screenwriter Shlomit Nehama. The story is set in present-day Jerusalem, in the predominately orthodox Bukharan Quarter neighborhood. What begins as a joyous celebration at a small synagogue takes a dark turn when the “women’s balcony” collapses. This leaves the congregation with no place to worship, and no spiritual leader until their aging rabbi recovers from his resulting nervous breakdown.

Fate delivers an ambitious young rabbi, who quickly ingratiates himself as “temporary” head of their synagogue. A little too quickly for the women of the congregation, who are chagrined to learn that the hasty remodeling eschews the open balcony for a stuffy glorified walk-in closet where they’re now relegated to sit for services. Soon, the women find themselves reluctantly engaged in virtual guerilla warfare against this fundamentalist redux of their previously progressive synagogue. This coterie of strong female characters are well-served by their real-life counterparts, resulting in a truly superb ensemble performance.

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 I cried). In short, it’s one of the best animes of recent years.

Full review

Movie Movie

The Top 100 films since 2007, and a shameless holiday pitch

December 21, 2017 Dennis Hartley Leave a comment

By Dennis Hartley

It’s hard to believe it’s been 11 years since my pal Digby graciously offered me a crayon, a sippy cup and a weekly play date on her otherwise grownup site so I can scribble about pop culture.

And just over 2 years ago, I put up Den of Cinema. Initially, this blog was created as a handy archive for readers who have followed my reviews over at Digby’s place; it has evolved a bit to include additional musings about music, pop culture and politics.

You’ve probably noticed that this site remains unencumbered by flashy ads and annoying pop ups that distract you from what (I assume) you’re here for…which is to catch up on recent posts or perhaps peruse the (searchable!) archives of well over 900 posts.

You know where this is going, don’t you?

I’m not the high pressure type, so I’ll just throw this out there: This is a 100% reader-supported site, it’s “that time of year”, and if you sample the wares on a regular basis and wish to help out with a donation (upper left corner), I would be ever so grateful.

Or don’t. Either way, you are always welcome here, and I’m just happy to know that you’re out there…somewhere, in the dark.

Anyway…Merry Crimble, and a Happy Goo Year!

So what about these “100 films” you speak of (you’re thinking?). By popular demand (heh) here are my top 10 picks for each of the years since I began writing film reviews over at Digby’s Hullabaloo (you may want to bookmark this post as a reference for movie night).

[Click on title for full review]

2007

Eastern Promises, The Hoax, In the Shadow of the Moon, Kurt Cobain: About a Son, Michael Clayton, My Best Friend, No Country for Old Men, Pan’s Labyrinth, Paprika, Zodiac

2008

Burn After Reading, The Dark Knight, The Gits, Happy Go Lucky, Honeydripper, Man on Wire, Milk, Slumdog Millionaire, Vicky Cristina Barcelona, The Visitor

2009

The Baader Meinhof Complex, Inglourious Basterds, In the Loop, The Limits of Control, The Messenger, A Serious Man, Sin Nombre, Star Trek, Where the Wild Things Are, The Yes Men Fix the World

2010

Creation, Inside Job, Joan Rivers: A Piece of Work, Little Big Soldier, A Matter of Size, My Dog Tulip, Nowhere Boy, Oceans, The Runaways, Son of Babylon

2011

Another Earth, Certified Copy, The Descendants, Drei, Drive, The First Grader, Midnight in Paris, Summer Wars, Tinker/Tailor/Soldier/Spy, The Trip

2012

Applause, Dark Horse, Killer Joe, The Master, Paul Williams: Still Alive, Rampart, Samsara, Skyfall, The Story of Film: an Odyssey, Your Sister’s Sister

2013

The Act of Killing, Big Star: Nothing Can Hurt Me, Computer Chess, 56 Up, The Hunt, Mud, The Rocket, The Silence, The Sweeney, Upstream Color

2014

Birdman, Child’s Pose, A Coffee in Berlin, The Grand Budapest Hotel, Kill the Messenger, The Last Days of Vietnam, Life Itself, A Summer’s Tale, The Wind Rises, The Theory of Everything

2015

Chappie, Fassbinder: Love Without Demands, An Italian Name, Liza the Fox Fairy, Love and Mercy, A Pigeon Sat on a Branch Reflecting on Existence, Song of the Sea, Tangerines, Trumbo, When Marnie Was There

2016

The Curve, Eat That Question, Hail Caesar!, Home Care, Jackie, Mekko, Older Than Ireland, Snowden, The Tunnel, Weiner

Gangsters, Jazz Musicians, Neo-Noir

Blu-ray reissue: Stormy Monday ****

December 11, 2017 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 9, 2017)

Stormy Monday – Arrow Video Blu-ray (Region “B”)

I have to admit, I geeked out a little when I heard that Mike Figgis’ tightly-scripted, gorgeously-photographed 1988 Brit-noir (his feature directorial debut) was finally getting the high-def home video treatment that it so richly deserves.

Sean Bean stars as a restless young drifter who blows into Newcastle and falls in with a local jazz club owner (Sting). Right about the same time, a shady American businessman with mob ties (Tommy Lee Jones) arrives to muscle in on a land development deal, accompanied by his ex-mistress/current P.A. (Melanie Griffith). As romantic sparks begin to fly between Bean and Griffith, the mobster puts the thumbscrews to the club owner, who stands in the way of the development scheme by refusing to sell. Things get complicated.

This is one of my favorite 80s sleepers; a criminally under-seen and underrated gem. Arrow’s sparkling transfer is a revelation; a great showcase for cinematographer Roger Deakins’ work here, which rates among his best. Extras include an interesting “then and now” tour of the Newcastle film locations.

Behind the Music, Biopic, Drug Culture, Rock 'n' Roll

Blu-ray reissue: Sid and Nancy ***

December 11, 2017 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 9, 2017)

Sid and Nancy – Criterion Collection Blu-ray

The ultimate love story…for nihilists. Director Alex Cox has never been accused of subtlety, and there’s certainly a glorious lack of it here in his over-the-top 1986 biopic about the doomed relationship between Sex Pistols bassist Sid Vicious and his girlfriend Nancy Spungen.

Gary Oldman and Chloe Webb chew all the available scenery as they shoot up, turn on and check out. It is a bit of a downer, but the cast is great, and Cox (who co-scripted with Abbe Wool) injects a fair amount of dark comedy (“Eeew, Sid! I look like fuckin’ Stevie Nicks in hippie clothes!”).

The movie also benefits from outstanding cinematography by Roger Deakins, which is really brought to the fore in Criterion’s 4K restoration. Extras include a 1987 doc on the making of the film, and the “infamous” 1976 Sex Pistols TV interview with Bill Grundy.

Film Noir, Gangsters, Show Biz

Blu-ray reissue: Mickey One ***1/2

December 11, 2017 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 9, 2017)

Mickey One – Indicator Limited Edition Blu-ray

Arthur Penn’s 1965 existential film noir stars Warren Beatty as a standup comic who is on the run from the mob. The ultimate intent of this pursuit is never made 100% clear (is it a “hit”, or just a debt collection?), but one thing is certain: viewers will find themselves becoming as unsettled as the twitchy, paranoid protagonist. It’s a Kafkaesque nightmare, with echoes of Godard’s Breathless. A true rarity-an American art film, photographed in expressive, moody chiaroscuro by DP Ghislain Cloquet (who also did the cinematography for Bresson’s classic Au Hasard Balthazar and Woody Allen’s Love and Death). Nice transfer. Extras include a 40-page booklet and a new interview with Penn’s son Matthew.

Conspiracy a-go-go, Neo-Noir, Politics, Thriller

Blu-ray reissue: Day of the Jackal ****

December 11, 2017 Dennis Hartley Leave a comment

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on December 9, 2017)

The Day of the Jackal – Arrow Video Blu-ray (Region “B”)

“Conspiracy a-go go” films don’t get any better than Fred Zinnemann’s taut political thriller. Adapted from Frederick Forsyth’s eponymous 1971 bestseller, this 1973 film (set in 1962) takes you on a chilling “ride-along” with a professional assassin (Edward Fox) who is hired by a French right-wing extremist group to kill President Charles de Gaulle. It’s a real nail-biter from start to finish, intelligently written and well-crafted.

While undoubtedly not his intent, Zinnemann’s documentary-style realism regarding the hit man’s meticulous prep work and coolly detached social engineering methodology at times plays like a “how-to” guide (shudder). Arrow’s print is the best I’ve seen of this film. Among the extras: a new interview with a Zinnemann biographer, and Kenneth Ross’ entire original screenplay (CD ROM content).