Drama

THE TRIP (1967)

September 18, 2020

(epix/kanopy/Paramount+/VOD) Surreal drugsploitation film penned by Jack Nicholson (yes, THAT Jack Nicholson), featuring Peter Fonda, Dennis Hopper, and Peter Fonda’s ass and, yes, it predates EASY RIDER. It’s intriguing simply because it’s psychedelic Corman — clearly over-extending himself, but enjoying doing so* — however the end result is a bit dull, dated, and feels too long, despite it clocking in under 90 minutes. However, one line really snapped me to attention: “Gimme the thorazine. You don’t need the thorazine!”

My media tastes came of age in the early 90s, when I glommed onto sample-heavy goth/industrial acts like MY LIFE WITH THE THRILL KILL KULT, FRONT LINE ASSEMBLY, MINISTRY, and far lesser known acts and, while I don’t listen to much goth/industrial nowadays, I’m constantly tripping over samples that have been burned into my teen memory while filling in my adult tv/film gaps. That line is an iconic third-wave industrial opening sample for MINISTRY’s JUST ONE FIX. (It’s oddly excised from the video, probably because of licensing issues.) When I happen upon a sample I’ve heard for years, but never knew the source or context, it’s oddly thrilling.

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.

THE COOK, THE THIEF, HIS WIFE & HER LOVER (1989)

September 15, 2020

(Apparently only available via peacock for some inexplicable reason.) Peter Greenaway’s astounding visual and theatrical marvel — intermittently abusive, cruel, and romantic — it weaves in his signature use of typography and painterly riffs in an accessible, sensational, manner. On top of that, it includes custom Gaultier designs that match the mood (and color) for every scene, and features Michael Nyman’s masterful dirge MEMORIAL.

Please note: the following trailer is NSFW.

PICNIC AT HANGING ROCK (1975)

September 14, 2020

(Criterion/HBO MAX/VOD) Peter Weir’s fascinating, gauzy adaptation of the classic Australian novel makes the source material even more enigmatic. A masterclass in evoking dreamy and hallucinatory imagery, and a quintessential ‘lost girls’ tale.

Amazon also released a six-episode adaptation of the novel recently, a surprisingly different — and welcome — take on the material.

THE WATERMELON WOMAN (1996)

September 13, 2020

(fubo/kanopy) Mid-90s indie queer film that Cheryl Dunye (who has directed eps of DEAR WHITE PEOPLE, QUEEN SUGAR, and LOVECRAFT COUNTRY) explores Black lesbian culture through the lens of film history. Features far more laughs than this description suggests, it’s very much of its time, but damn well worth yours.

(The following is a scene — not a trailer — as there appears to be no trailer of it online.)

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.

SMITHEREENS (1982)

September 11, 2020

(Criterion/HBO MAX/kanopy)? The directorial debut of Susan Seidelman (DESPERATELY SEEKING SUSAN, SHE-DEVIL) focuses on a woman trying to get by and create an image of herself in NYC. Also features punk impresario Richard Hall, if that’s your thing.

LADIES AND GENTLEMEN, THE FABULOUS STAINS (1982)

September 9, 2020

(kanopy/VOD) A very quotable look at a young female punk rock group, starring Diane Lane as Corinne ‘Third Degree’ Burns, and penned by Nancy Dowd (SLAP SHOT) who ultimately changed her credited name to ‘Rob Morton’ because she was dissatisfied with the music video ending. (I can’t imagine the film without that music video.)

As you’d expect, it has a fantastic soundtrack and features a number of punk cameos. It’s also the reason why Laura Dern sued her family for legal emancipation, as her mother wouldn’t let her work on the film.

ALL THAT JAZZ (1979)

September 8, 2020

(DVD/BR) While I appreciate Bob Fosse as a talented choreographer and director, I don’t think much of the man himself, which is what conflicts me about this self-indulgent paean from himself, about himself, to himself. On one hand, the self-glorification of his caddish behavior — even if he hangs a lampshade on it — is pretty despicable and, even more criminal, it’s often dull. On the other hand, the closing scene is a goddamn stunner, and may make the film worth your moral price of admission.

Closing scene (NSFW):

Trailer:

SWING SHIFT (1984)

September 5, 2020

(VOD) The story of a young wife (Goldie Hawn) discovering herself through an airplane riveter job and a trumpet-playing Kurt Russell during WWII. Hawn feels oddly muted, but Kurt pours on the charm.

Directed by Jonathan Demme, and co-written by Nancy Dowd (co-writer of one of my favs LADIES AND GENTLEMEN, THE FABULOUS STAINS). Also briefly features a youthful Stephen Tobolowsky — with a full head of hair! — in his second-ever film role.