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GOOD BEHAVIOR (2016-2017)

November 7, 2020

(Hulu/hoopla/TNT) The closest thing to misfit neo-noir TV has seen in years. While the show is loosely based on Blake Crouch’s* Letty Raines series of heist novellas, it improves on it in every way: the show sees Letty (played with gusto and a wavering American accent by DOWNTON ABBEY’s Michelle Dockery) as a conflicted, stubborn addict slowly trying to improve herself and her life, but keeps making terrible life decisions, including falling for a hitman (handsomely played Juan Diego Botto).

It’s a surprisingly emotionally grounded show that balances conflicted romance with pulpy plotting. Also, the chemistry between Dockery & Botto is off the goddamn charts.

The second season becomes a tad too convoluted and ends on a a major cliffhanger, and then the show was canceled so, if you’re the type easily frustrated by open endings, this probably isn’t the series for you. There’s been talk of a TV movie to give closure but, given the world nowadays, that’s unlikely to happen.

S1 trailer:

S2 trailer:

“Can I give you a bit of relationship advice? The only thing you can change about a man is his hair.” “…I like his hair.”

  • Blake Crouch is also responsible for the WAYWARD PINES trilogy. Similarly, the show improved on the source material.

LET THE CORPSES TAN (2017)

September 23, 2020

(AMC+/kanopy/Shudder/VOD) Amplified western giallo: you’ll hear every twist of leather, you’ll see every wisp of hair, taste every bit of grit, smell their sweat and gunpowder. It’s entirely about sensuality, and it’s so extraordinarily satisfying.

Also, it’s a damn thrilling heist film and, when shit goes sideways — as it always does — it becomes something astounding.

BATMAN RETURNS (1992)

September 22, 2020

(HBO MAX/VOD) Tim Burton’s sequel — which seems to be unfairly forgotten, even more than the Schumacher sequels — manages to give us the best on-screen version of Catwoman, as well as the most intriguing and spectacular art and production design (sorry, not sorry Nolan) of the film franchise. Also, it’s more disturbing than you remember, and still goth as fuck.

GUN CRAZY (1950)

September 16, 2020

(HBO MAX/VOD) Undersung misfit noir that directly inspired and influenced the major French New Wave directors, and you most certainly wouldn’t have BONNIE & CLYDE without it.

Filmed in a vivid cinéma vérité style, it’s a surprisingly complex character piece, while still managing to be a satisfying caper. The heist scene (https://www.youtube.com/watch?v=28aPxWtdaGY) is one that will feel familiar, simply because so many filmmakers have cribbed from it, Scorsese in particular.

SUN DON’T SHINE (2012)

September 12, 2020

(kanopy/Mubi/VOD) Amy Seitz’s directorial debut. A hard watch about a couple dealing poorly with a severe situation. Kate Lyn Sheil is amazing at toeing a thin line.

In the light of recent info regarding Seitz it seems rather twisted to watch, but is still worth your time, especially if you’re open to a modern take on BADLANDS.

THE GUEST (2014)

August 22, 2020

(IMDbTV/Netflix/tubi) YOU’RE NEXT’s Adam Wingard gave us this absolutely gonzo departure for DOWNTON ABBEY star Dan Stevens. A modern THE STEPFATHER that goes balls-to-the-wall in the final act, liberally cribbing from THE LADY FROM SHANGHAI. Also features an unappreciated Lance Reddick and one hell of a moody goth soundtrack.

BUMBLEBEE (2018)

August 3, 2020

(epix/fubu/Paramount+/VOD) Yeah, it’s technically a TRANSFORMERS film, but it’s actually a winsome teen film, the modern HERBIE THE LOVE BUG we deserve. Also, unlike other TRANSFORMERS films, the action scenes are actually comprehensible, as opposed to a slurry of cuts, motion blur, and sound effects.

WE TAKE THE LOW ROAD (2019)

August 1, 2020

(hoopla/VOD/vudu) Overpacked thriller about the cruelty of the US health care system, mental illness, and family. The script and performances are bit clunky here and there, and it doesn’t quite come together in the end, but its big swings are to be applauded.

POINT BLANK (1967)

July 30, 2020

(VOD) Surprisingly experimental, not just with its visuals, but with its handling of passage of time and use of silence (especially the lack of ambient sound in the elevator sequence). I really didn’t expect it to be ‘arthouse action’.