VOD

ELVIRA, MISTRESS OF THE DARK (1989)

August 29, 2020

(AMC+/hoopla/Hulu/Prime/Shudder/tubi) Combining Elvira’s vaudeville MC schtick with a John Waters-type of cultural/sexual norms disruption was goddamn inspired. Yes, the male gaze interrupts the film’s flow every two minutes, but the self-aware winks and Elvira’s personal agency (mostly) subverts it. (I wish there was a better trailer for the film than this one.)

Also highly recommended: THE ELVIRA SHOW, which never made it further than the pilot.

Feels like THE GARRY SHANDLING SHOW but with Elvira. What more could you want?

MUD (2013)

August 28, 2020

(Hulu/Prime/tubi/VOD) A surprisingly uncomplicated thriller but also a coming-of-age film about a boy who believes in true love, despite being presented with numerous evidence to the contrary. Grounded by earnest dialogue and fantastic performances (despite McConaughey’s distracting teeth), it also features Mitchell himself: Joe Don Baker.

MADAME X (1966)

August 27, 2020

(VOD) Epic camp melodrama that never quite feels earnest enough, but is still a worthwhile display of a woman spiraling downwards, and the systems set in place that mean to put her in her place. (Also worth nothing: absinthe is a major plot point.)

REDS (1981)

August 26, 2020

(HBO MAX/VOD) I feel dumb for not realizing that THE AMERICANS cribbed liberally from Warren Beatty’s three-hour epic about American union organizers, socialists, and Soviet sympathizers. While it’s gorgeously shot, the written word and Diane Keaton are the complicated hearts of the film.

Fun fact: Sondheim was hired to score the film — at the same time as he was working on Merrily We Roll Along — and you can read more about it here:

http://www.sondheim.com/works/reds/

MICKEY ONE (1965)

August 25, 2020

(VOD) Warren Beaty in Arther Penn’s (BONNIE AND CLYDE) most naked attempt at French New Wave within the American studio system and, yes, Beaty makes a damn fine Belmondo. It’s a bit of a maddening Kafka-esque mess that doesn’t completely cohere, but it remains a fascinating experiment (if all of the above sounds appealing).

It’s worth noting that it was an extremely formative film for Joe Dante, as he explains in this TRAILERS FROM HELL episode:

TULLY (2018)

August 24, 2020

(VOD) There aren’t enough films about motherhood mid-life crises, and this one has Charlize Theron AND Mackenzie Davis, with Diablo Cody putting words into their mouths. Cody’s come a long way since JUNO, tamping down on her writerly idiosyncrasies and has crafted an exceptional character piece.

As a sidenote: I love this trailer; I watch it at least once a month.

PRINCESS CYD (2017)

August 23, 2020

(Hulu/kanopy/mubi/tubi/VOD) Absolutely charming ‘summer of self-discovery’ film about a teen visiting her writer aunt in Ravenswood, Chicago. As I lived in Ravenswood for several years (and currently live adjacent to the neighborhood) I recognized -every single location- in the film, even down to the church the aunt attends, which means that the film’s home field advantage may unfairly tilt my critical scales, but it really is an extraordinarily delightful film. Pairs well with Showtime’s WORK IN PROGRESS.

(Warning: the trailer is less of a trailer and more of a highlight reel, so you may want to avoid it.)

https://www.youtube.com/watch?v=jhzSJgutiN4

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.

DEALT (2017)

August 21, 2020

(AMC+/Hulu/VOD) I have a penchant for films and documentaries about magicians and tricksters, and DEALT is about one of the king card mechanics. This doc could hit harder, but it’s a fascinating look at an unprecedented talent and how he can’t see himself.

PAPER MOON (1973)

August 20, 2020

(Prime/VOD) Winsome depression-era period piece about a con man and his hanger-on. Sparkling dialogue, great chase sequences in a film that doesn’t need them, and surprisingly touching performances from Ryan O’Neil and his daughter. Peter Bogdanovich was on one hell of a roll.