(VOD) Another undersung Bogart film, this time coupled with Bacall. Based on David Goodis’ novel — which, sadly, I have yet to read — it’s a far more sophisticated first-person noir than the gimmicky adaptation of Chandler’s THE LADY IN THE LAKE (also 1947). Burton’s infamous Joker reveal scene in BATMAN (1989) was absolutely cribbed from DARK PASSAGE.
IN A LONELY PLACE (1950)
(Plex/Prime/VOD) Adapted from the groundbreaking Dorothy B. Hughes novel, Nicolas Ray’s film is less of an examination of PTSD and toxic masculinity than that of a melodramatic noir of a distrustful couple. It’s a completely different beast, but no less powerful, mostly because Ray was contractually obligated to make the film with his recent ex-wife Gloria Grahame, who he divorced because he caught her in bed with his 13-year-old son, whom she later married. (Yes, really. https://medium.com/@stowens/the-not-so-wonderful-life-of-gloria-grahame-2d996a843c83 )
It’s a gorgeous, sad, film that utilizes Bogart’s charisma and volatility, while also leveraging some pitch-perfect production design, and puts post-WWII emotions on display.
ENTER THE VOID (2009)
(AMC+/VOD) One of the first modern films I can think of to assume the back-facing third-person perspective of videogames as the primary POV of a film. (Although, uh, it’s for different reasons. Also: strobe warning in advance for the following videos!)
Like all Gaspar Noe films, you’ll never want to re-watch it, you’ll probably regret having watched it in the first place, but you’ll never, ever, forget it.
If you want to skip the film itself, the title sequence is a goddamn typographical masterpiece:
(I miss the heyday of 90s/naughts design. Nowadays, all text design is flat, dull, character-less, meant to be readable regardless of device screen size. Scaling is overrated!)
LET THE CORPSES TAN (2017)
(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)
(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.
INSIDE DAISY CLOVER (1965)
(VOD) A meta ‘Hollywood will tear you apart’ tale featuring Natalie Wood in yet another role where she doesn’t get to use her own voice. It’s so meta that there’s an explicit musical number named YOU’RE GONNA HEAR FROM ME and, while it’s occasionally her own voice, it’s mostly Jackie/Robin Ward.
They really put a pin in it with Daisy’s breakdown scene which, yes it’s overly dramatic, bordering on camp, but I found it stunning, and loved the silencing.
Probably nobody’s favorite film — it’s too ramshackle and self-indulgent, and the end leans too much on being ‘hysterical’ (again, I can’t argue against camp claims) — but it’s worth watching, especially for the numbers.
BUTTERFIELD 8 (1960)
(VOD) A sensationalistic drama about transactional sex, based on James O’Hara’s 1935 novel, but the adaptation takes place ~1960, which makes a major difference regarding attitudes towards sex. Also, the NYC bars, which are by far the most interesting facets of O’Hara’s novel, are mostly unmemorable in the film.
Context aside, the opening sequence is by far the reason to watch this film. It’s pitch-perfect character exposition and exquisitely sets everything up for what’s about to unfurl, plus it’s very on-brand for Elizabeth Taylor (who only did the film out of contractual obligation, but then won her first Oscar for it).
NO SALE!
LAURA (1944)
(VOD) Vera Caspary’s book is fantastic, but there’s a push-in midway through Otto Preminger’s classic noir that reframes everything, complicating the narrative in a way that more artfully sets up some of the twists and turns than in the novel. If you’re watching for the cast, it’s stellar: Dana Andrews, Gene Tierney and, of course, Vincent Price.
THE TRIP (1967)
(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.
- Joe Dante’s been trying to get a Corman biopic produced for years (THE MAN WITH KALEIDOSCOPE EYES), which would include a scene of Corman dropping acid which was the inciting incident for this film. Sadly, it hasn’t happened yet. https://bloody-disgusting.com/movie/3592228/joe-dantes-roger-corman-biopic-man-kaleidoscope-eyes-looking-film-next-year/
DELIRIOUS (1991)
(hoopla/VOD) Reminds me a bit of STAY TUNED (1992, previously mentioned) in that it’s obviously meta self-indulgence by screenwriters Lawrence J. Cohen and Fred Freeman (both of whom have had an illustrious TV career, writing everything from THE DICK VAN DYKE show to EMPIRE). I’ll go out on a limb and posit that it’s their comedic answer to TWIN PEAKS.
DELIRIOUS has a few wincing moments, especially when it comes to male wish-fulfillment and the auto-shop owner, but it makes the most of John Candy’s physicality, Mariel Hemingway is extraordinarily charming, and the rest of the cast is peppered with amazing character actors, including Raymond Burr basically playing SUCCESSION’s Logan Roy, if Logan Roy was constantly frustrated by his cable box.
Not a brilliant film, but a fun 90s curio. “I can only control what I write, right?”