Film

EATING RAOUL (1982)

March 23, 2021

(HBO MAX/Criterion/VOD) While film seems to be endlessly fragmenting when it comes to genre, some genres seem to have completely fallen off the map, such as the satirical sex farce, which is the closest genre I can think of for EATING RAOUL.

As the trailer below details, EATING RAOUL is a very conflicted picture that tries to have its cake and eat it too, and mostly succeeds because of its absurdity. It’s about a comically straight-laced couple, Paul & Mary, a.k.a. Mr. And Mrs. Bland, a wine snob (character actor and director of DEATH RACE 2000 Paul Bartel) and a nurse (the distinctive horror character actor Mary Woronov), both of whom retire at night in twin beds, the former hugging a plush wine bottle, the latter clutching a number of stuffed animals. They live in an apartment complex full of swingers, and their American Dream is to own their own restaurant. While they found the perfect spot for their restaurant, someone’s about to grab it unless they’re able to pony up the cash, and quick.

So, they come to the conclusion that most modern America comes to: let’s kill and rob the deviants, one-by-one. They choose to do so with the symbol of American domesticity: the frying pan. Eventually they enlist the help of Raoul (Robert Beltran), a ‘hot-blooded emotional, crazy Chicano’ (their words — not mine) who, while turning the bodies into dog food for extra cash, also woos Mrs. Bland.

No, it’s not a subtle film, but the script is whipsmart:

“Mary, I just killed a man.”

“He was a man, honey. Now he’s just a bag of garbage.”

It’s a crazy script, and a crazy film and, while I don’t think it completely succeeds, it’s extremely audacious and entertaining. Frankly, I’m growing tired of capitalist satire being couched in miserable horror films that barely elicit a laugh.

DETECTIVE PIKACHU (2019)

March 21, 2021

(VOD) Now wait, hear me out:

  • It’s a visual marvel that WAS SHOT ON FILM on because Oscar-nominated cinematographer John Mathieson wanted it to look like BLADE RUNNER, and I’d argue that he succeeded
  • It reminds me of Jim Henson’s DOG CITY — a childhood favorite of mine — in that it’s family-friendly noir, but still damn smart. (That said: not nearly as much of a spoof, but very close to one.)
  • It’s darker than you’d expect and has better character development than necessary
  • I have only played POKEMON SNAP and had no proper pre-existing knowledge of the characters or the world and I still loved it
  • It’s worth watching just for the closing reveal
  • I’m short on time today, hence these bullet points

BROADCAST NEWS (1987)

March 20, 2021

(HBO MAX/VOD) I watch BROADCAST NEWS about every five years, and every time my appreciation for it grows. I love how adults are posited more like immature teens, but still have to tackle serious issues like balancing their career and their personal desires; I love how the newsroom was brutally portrayed; I marvel at the unsure balancing of the love triangle; Jane Craig’s character is still a breath of fresh air, and how Holly Hunter absolutely nails her very distinct blend of determination, confidence, and anxiety; oh, how stellar the camerawork is, and the exactly attention paid to each edit.

My most recent viewing was by far the most special. Not only did I nab tickets to see it at TCM Fest 2017 so I finally managed to see it on a big screen — and with a bigger audience than my traditional audience of one — not only did Ben Mankiewicz lead a discussion with director James L. Brooks about the film, but co-star Albert Brooks was the surprise guest! Given how reluctant Brooks is to join in anything that comes close to an interview event, I was stunned to see him join James L. Brooks on stage, and I couldn’t have been happier to see -and- hear these two giants of dramatic and romantic comedy discuss this magnificent work.

I’d like to recommend Caroline Seide’s relatively recent article on BROADCAST NEWS — it’s part of her AV Club series ‘When Romance Met Comedy’ — as it’s a finely detailed examination as to why the film works so well, why it resonated then, and why it still holds up.

UNTIL THE END OF THE WORLD (1991)

March 19, 2021

A warning: today’s entry is a bit more personal and deals with death. My apologies.

(Criterion/YouTube) There are better respected Wim Wenders films than UNTIL THE END OF THE WORLD, but it’s long been one of my personal favorites of his. I have yet to see the recent director’s cut — like JUSTICE LEAGUE, like DUNE, folks have been endlessly clamoring for his four-hour edit of this film, which is featured in the new Criterion edition of the film — but the theatrical cut still features all of the hallmarks of quintessential Wenders films, including emotional ennui, distanced communication, and road trips but, atypical for Wenders, it’s contained in a sci-fi neo-noir coating.

It’s one of the first films I recognized as ‘an international affair’, which means that Wenders finagled funding from more than a few countries to realize his vision. It has a lot of people, a lot of odd events, and a lot of languages but, despite all of that, and despite the ramshackle plotting, despite the fact that it takes place in a very prescient future 1999, it’s a very challenging, very soulful and melancholy meditation on technology, humanity, and memories.

Ah, but I’m burying the lede. This movie was one of the first films I bonded over with my college friend Nick. We both loved the high-concept nature of it and, both of us being goths, were enraptured with the soundtrack, especially the contributions from CRIME & THE CITY SOLUTION, Nick Cave, and Julee Cruise.

While we grew in parallel as we aged — over the years we shared a lot about esoteric bands, cooking, the cosmos, and computer science — we always had this film as a touchstone. He’s someone I could always reach out to and instantly reconnect with.

He passed away in his sleep on March 3rd. He was one of the nicest, most accepting people I’ve ever known and, if you were his friend, he always had your back. I’m not exaggerating when I say he saved my life at least once — I was a naive college youth and he was a weathered post-grad — and I’m heartbroken that I was unable to return the favor.

I really miss him and just want to hold those memories close.

HOUSEKEEPING (1987)

March 17, 2021

(VOD) I didn’t realize this going into HOUSEKEEPING, but it’s an adaptation of Marilynne Robinson’s first novel of the same name. If you aren’t familiar with Robinson, she’s probably better known for her series of GILEAD novels, which examines the small but sprawling matters of a family.

(I’ll note I’ve only read the second novel in the series, HOME, so I may be misrepresenting the series a bit.)

In any case, Bill Forsyth (writer/director of BEING HUMAN and LOCAL HERO) adapted Robinson’s novel, which is a story of two sisters who are abandoned by their mother, then looked after by their aunt, an eccentric with more than a few issues, but not in the cute AUNTIE MAME way. It’s quietly, but mannerly, handled, feeling more like a prestige picture as opposed to an indie piece, but never loses sight of the characters, all of whom are unique and grow and brush against societal and cultural norms in their own way.

I’ll note that the trailer most certainly positions the film as a sort of unconventional wacky comedy. It is not that at all.

JUDY & PUNCH (2019)

March 16, 2021

(Hulu/hoopla/kanopy/VOD) One trend that I love with genre films nowadays is how many women actors are getting chances at directing their own pieces. I just mentioned Brea Grant yesterday — still probably best known for her performance in HEROES — but also BLACK CHRISTMAS (2019) director Sophia Takal, HAPPIEST SEASON director Mary Holland, cult comedian and PREVENGE’s Alice Lowe, THE WOMAN’s Pollyanna McIntosh helming DARLIN’ and, also, Mirrah Foulkes who directed JUDY & PUNCH, but has also appeared in THE CROWN, TOP OF THE LAKE: CHINA GIRL, and ANIMAL KINGDOM.

As you may suspect from the name, JUDY & PUNCH is a revenge twist on the British puppet theater/domestic violence mainstay, while still taking place in the 17th century, but also has witches (of a sort). It’s an odd genre film with very specific music choices, including a very idiosyncratic soundtrack that includes a lot of anachronistic synth covers, and an oddly unnecessary cover of LAIBACH’s cover of OPUS’ -Life is Life-. It’s not perfect, and there is a lot of abuse, but I’ll take weird swings like this any day of the week.

Sadly, the film runs a bit long — the middle feels more than a little padded — but when you have Mia Wasikowska (CRIMSON PEAK, STOKER) and Damon Herriman (ONCE UPON A TIME IN HOLLYWOOD, but he’ll always be Dewey Crowe from JUSTIFIED to me), I’d also be tempted to fight to include every scene you shot.

LUCKY (2020)

March 15, 2021

(AMC+/Shudder/VOD) Back when I recommended 12 HOUR SHIFT last month, I mentioned that writer/director Brea Grant was one of the hardest working people in genre film, and here she is starring in a screenplay she wrote, one of the rawest psychological thrillers I’ve seen in some time. Here she and director Natasha Kermani seem to be channeling Charlie Kaufmann or Repulsion-era Roman Polanski in the best way possible, as this is one very surreal exploration of assault and victimhood. It’s a shockingly original film that makes the most of exploiting slasher tropes, and I can’t wait to see what Grant does next.

If I have one quibble, one complaint about the film, it’s that no author signs the slipcover of a book and, every time I witness it via the trailer or in the film, it’s like nails on a chalkboard. (I fully realize they had her sign the slipcover because this allowed them to only have to print up slipcovers, rather than fake the innards of a book, but it still irks me!)

MR. SOUL! (2018)

March 14, 2021

(HBO MAX) I’m embarrassed that I was completely unaware of the existence of the Black variety TV show SOUL!, which ran from 1968 to 1973, a bit before my time. The show was an overstuffed marvel of wall-to-wall talent, featuring musicians, writers, and poets, and this documentary that extolls it is absolutely fascinating.

Despite the doc being named after the host of the show, Ellis Haizlip, and co-directed by his niece, it’s rather light on particulars about his life. Instead it focuses more on what he accomplished through the show than being a personal profile, which isn’t an admonishment, merely an observation.

Either way, be prepared to take notes while watching it, as there are a litany of acts and individuals noted in the doc that deserve your additional attention.

(Grateful to Damon Locks for posting about this doc, which I wouldn’t have otherwise seen.)

JUDAS AND THE BLACK MESSIAH (2021)

March 11, 2021

(HBO MAX/VOD) JUDAS AND THE BLACK MESSIAH leaves HBO MAX after March 14th*, so you only have a few more days to stream it, and it’s goddamn it’s well-worth your time.

I’ll try to keep this brief, because every hour I dilly-dally writing this is an hour you’ll miss out on the streaming window, but JUDAS AND THE BLACK MESSIAH is the rare docudrama that would’ve been just as rich as fiction. Despite being shot in Cleveland, it feels like midwest Chicago — they nailed the molding! — the cast is amazing, and it resonates in a way that say, TRIAL OF THE CHICAGO 7 does not.

  • Again, not shilling. Just trying to get folks to watch a quality film.

MIKEY & NICKY (1976

March 9, 2021

(Criterion/HBO MAX/kanopy/tubi/VOD) Elaine May’s exploration of two desperate NYC mobsters (Peter Falk and John Cassavettes) trying to save themselves while using each other is as good as any take on weathered, toxic male friendship as you’re going to get on film.

There are two versions of it out there, but the one streaming is May’s director’s cut which is streamlined, but far more ramshackle (see: https://jonathanrosenbaum.net/2020/06/mikey-and-nicky-liner-notes/ for more details). Watch whichever one you can wrangle!