The Untold Story of Emmett Louis Till (2005) – DVD

**½/**** Image B+ Sound B+ Extras C
directed by Keith A. Beauchamp

by Alex Jackson For most of us Americans, our view of the pre-civil rights movement South has focused more on the sun than on the storm. While Martin Luther King, Jr. and Rosa Parks are an established part of our cultural history, the lynching of Emmett Louis Till has more or less floundered in relative obscurity despite being just as if not more essential to racial progress. We understand, in a perfunctory way, that those who led the civil rights movement were heroes, but our understanding of what they were fighting against is diffused and vague. So… Martin Luther King, Jr. made it so that blacks could sit at the front of the bus and use the same water fountains as whites? That is essentially all that this period of history has come to mean in a society that believes children should be protected from the uglier facts of history at the cost of retaining an ignorance of a backyard holocaust. The greatest achievement of The Untold Story of Emmett Louis Till, perhaps its only real achievement, is that it provides some sort of visual record of this time and place. The film works on the most primitive level of documentary cinema: it educates you about something important that has otherwise been grossly underexposed.

Orca: The Killer Whale (1977) – DVD

Orca
***/**** Image B Sound B

starring Richard Harris, Charlotte Rampling, Will Sampson, Bo Derek
screenplay by Luciano Vincenzoni and Sergio Donati
directed by Michael Anderson

by Alex Jackson SPOILER WARNING IN EFFECT. I was scared off of Orca, widely considered to be one of the worst films of all-time. The movie had a reputation as a bad Jaws rip-off and my last viewing of a bad Jaws rip-off was Lamberto Bava's Devilfish on "Mystery Science Theater 3000", which was awful enough to make me question what I was doing spending my Saturday mornings watching "Mystery Science Theater 3000". Well, I'm pleased to report that Orca's reputation is completely unwarranted. Critics and audiences were wrong, they just didn't get it. They labelled it a "Jaws rip-off" before setting foot in the theatre and watched it on autopilot.

The Poseidon Adventure (1972) [Special Edition]; The Towering Inferno (1974) [Special Edition]; Earthquake (1974) – DVDs

THE POSEIDON ADVENTURE
**/**** Image A Sound B+ Extrss B+
starring Gene Hackman, Ernest Borgnine, Red Buttons, Carol Lynley
screenplay by Stirling Silliphant and Wendell Mayes, based on the novel by Paul Gallico
directed by Ronald Neame

THE TOWERING INFERNO
**½/**** Image A Sound A Extrss A
starring Steve McQueen, Paul Newman, William Holden, Faye Dunaway
screenplay by Stirling Silliphant, based on the novels The Tower by Richard Martin Stern and The Glass Inferno by Thomas N. Scortia and Frank M. Robinson
directed by John Guillermin

EARTHQUAKE
**½/**** Image B Sound A-
starring Charlton Heston, Ava Gardner, George Kennedy, Lorne Greene
screenplay by George Fox and Mario Puzo
directed by Mark Robson

Earthquakecap

by Alex Jackson SPOILER WARNING IN EFFECT. It’s the politically sensitive early-’70s. Action movies are now Balkanized along ideological lines. Bona fide westerns have become completely hippified (Little Big Man, McCabe and Mrs. Miller), while the values of the traditional western have been transplanted whole into a new genre of gritty law-and-order cop movies (Death Wish, Dirty Harry). The question facing Hollywood is: how do you make an action movie with across-the-board appeal? Irwin Allen hit on a temporary solution with his series of disaster flicks. In 1977, George Lucas stumbled upon a permanent one. I’m not sure it really sank in until I watched Allen’s The Poseidon Adventure and The Towering Inferno back-to-back just how deeply Lucas’ little space opera changed the face of popular entertainment. The broadly allegorical Star Wars films were not only a collective experience, they were a powerful collective experience, too. They placed serious religious issues in a palatable context and provoked a deeply spiritual response from the masses.

Second Best (2005) – DVD

*/**** Image B Sound C+ Commentary A-
starring Joe Pantoliano, Jennifer Tilly, Boyd Gaines, Bronson Pinchot
written and directed by Eric Weber

by Alex Jackson Eric Weber's Second Best is not only a bad movie, it's an arrogantly bad movie. It thinks it has a God-given right to be poorly- acted, written, and directed. Though I'm loath to endorse the source, to paraphrase "South Park" creator Trey Parker, I hate bad Hollywood films but I REALLY fucking hate bad independent films. You would have to be far out of the studio system and truly have the courage of your convictions to make a movie as utterly self-absorbed as Second Best. This transparently autobiographical film exposes its author as whiny, slimy, and smug. I have never been so repulsed by the characters in a movie or the people behind it. It must take Weber's psychiatrist every ounce of strength to not drug his client and talk him into feeding pieces of his face to a dog.

Love Me Tender (1956) [Cinema Classics Collection] – DVD

***/**** Image A Sound A- Extras B
starring Richard Egan, Debra Paget, Elvis Presley, Robert Middleton
screenplay by Robert Buckner
directed by Robert D. Webb

by Alex Jackson SPOILER WARNING IN EFFECT. As far as drugs go, Love Me Tender is more pot than heroin. It won’t curl your toes, but you’ll get a smooth, mellow buzz. It’s sort of the perfect film to watch on a Sunday morning on TCM while you’re eating a bowl of Cap’n Crunch. Love Me Tender doesn’t have a lot of urgency and it moves pretty slowly, yet there’s never a moment in which it’s not compulsively watchable–and at just a shade under ninety minutes, it doesn’t wear out its welcome. Director Robert D. Webb keeps the camera pretty still and shoots the outdoor scenes in long shot, the better to encapsulate the sheer enormity of the under-settled frontier. All this space lends the film a distinctly melancholy feel; there’s something lonely and isolated about the picture. But bittersweet is a flavour, too (a good one), and melancholy is the right attitude for this story and the right attitude for a film titled after Elvis Presley’s tragically romantic hit single “Love Me Tender.” This was the only film that ever killed off Elvis–and it earns the right to do so.

Bill Hicks: Sane Man (1989) – DVD

**½/**** Image D/C Sound D/B Extras C-
directed by Kevin Booth

by Alex Jackson For anybody who reads a lot of my work, it may seem as if I can’t get through an entire review without lodging this same complaint–but for the record, rebelliousness for the sake of rebelliousness should not be a characteristic of anybody’s art. Once you become a full-time professional rebel, you’ll eventually start telling the people who listen to you not to do so, and then what are we to do? You can’t fulfill that request without violating it and you can’t violate it without fulfilling it. Artists and consumers of the arts need to come up with their own ideas of what’s good and what’s not. If these ideas happen to coincide with the popular consensus, then that’s perfectly fine; and if they happen to go against the popular consensus, that’s fine, too. The opinion of the popular consensus should not really come into play, period. The professional rebel, as you could probably surmise, is a distinctly adolescent creation, but I do not denounce him because I wish to distinguish myself from adolescents. I denounce him because he’s vapid. He’s all for show and not serious about arriving at any fruitful universal truths.

Dimples (1936) + Mad Hot Ballroom (2005) – DVDs

DIMPLES
**/**** Image F (colorized)/C (b&w) Sound C
starring Shirley Temple, Frank Morgan, Robert Kent, Stepin Fetchit
screenplay by Arthur Sheekman and Nat Perrin
directed by William A. Seiter

MAD HOT BALLROOM
*/**** Image B Sound B
directed by Marilyn Agrelo

Dimplescapby Alex Jackson When Chuck Workman juxtaposed Shirley Temple with Adolf Hitler in his underseen 1995 documentary The First 100 Years, he was dramatizing America's suckling on the opium pipe of Temple musicals while Hitler rose to power in Germany. This is reflective of the general attitude towards Temple in the 1940s: not only was she no longer cute, she also embodied a sense of brain-dead frivolousness in American film that the zeitgeist started snuffing out through soppy sentimentality, hardened disillusionment, or some combination of the two. Movies got heavy in the Forties, and Temple could not keep up with them.

Sundance ’06: Punching at the Sun

*½/****starring Misu Khan, Nina Edmonds, Hassan El-Gendi, Ferdusy Diawritten and directed by Tanuj Chopra by Alex Jackson Punching at the Sun follows the life of South Asian Queens teenager Mameet Nayak (Misu Khan). Mameet: (1) Lives in the shadow of his older brother, who was gunned down in his family's convenience store; (2) Falls in love with the neighbourhood sneaker salesgirl, Shawni (Nina Edmonds); (3) Identifies deeply with hip-hop culture; and (4) Feels that South Asians, due to their physical similarity to Arabs, are being unfairly mistreated in the aftermath of 9/11. The chief problem with Punching at the Sun…

Sundance ’06: Into Great Silence

Die Große Stille****/****directed by Philip Gröning by Alex Jackson I actually saw director Philip Gröning's previous film at the 2001 Sundance Film Festival. It was called L'Amour, l'argent, l'amour, and it was kind of awful, I guess, very long and very pretentious. But it was kind of mesmerizing, too, and the mesmerizing and the awful become inextricable--it's the sort of "bad" movie that only a true genius could make. Gröning's Into Great Silence is in the same insane tradition. I offer no intellectual defense towards either of these two movies; I don't know if I'm complimenting the Emperor on his…

Sundance ’06: A Darkness Swallowed

***/****directed by Betzy Bromberg by Alex Jackson A Darkness Swallowed is an experimental film consisting entirely of extreme close-ups of fossils, skins, rocks, and water droplets. There is a brief passage of voiceover in the beginning and a full-length soundtrack, but that's it as far as narrative cues are concerned. The film is supposed to be about the "nature of cellular memory" and "the physical traces that memories leave behind on and inside our bodies, and on and inside the earth." I had a considerably more banal philosophical question on my mind while watching it: I saw things in these…

Sundance ’06: By the Ways, A Journey with William Eggleston

***/****directed by Cédric Laty & Vincent Gérard by Alex Jackson I'm certain that William Eggleston is a real photographer; I'm a little less sure that Cédric Laty and Vincent Gérard are real Frenchmen: I can't find anything about them on the Internet not directly related to this movie. You would understand my skepticism were you to see By the Ways, A Journey with William Eggleston, which plays like a particularly bizarre practical joke. The film purports to be a study of Eggleston's life and work, but it's actually more of a Parisian love letter to American cars, the American south,…

Sundance ’06: Awesome; I Fuckin’ Shot That!

Awesome; I Shot That!½*/****directed by Nathanial Hörnblowér by Alex Jackson Given that I was about halfway through a really nasty cold when I saw The Beastie Boys' Awesome; I Fuckin' Shot That!, I probably wasn't in the right frame of mind to judge its merits. With that disclaimer in place, this has to be the loudest movie I have ever seen. At the end of the ordeal, I felt as though band members Mike D, Adam Horowitz, and Adam Yauch had burrowed inside my brain and gone to work with an iron frying pan. I'll cop to preferring masochistic cinematic…

Sundance ’06: Adam’s Apples

Adams æbler*/****starring Ulrich Thomsen, Mads Mikkelsen, Nikolaj Lie Kaas, Nicolas Browritten and directed by Anders Thomas Jensen by Alex Jackson Adam's Apples begins with a Danish skinhead (Ulrich Thomsen) getting off a bus at a halfway house out in the country and keying the vehicle as it drives away, immediately telling us that this isn't going to be a movie that seriously considers the economic origins and social ramifications of the Danish white-supremacist movement. The skinhead, whose name is Adam, meets the other inhabitants of the halfway house, which include an Arabic stickup-man (who speaks in adorably broken Danish and…

Sundance ’06: Thin

**½/****directed by Lauren Greenfield by Alex Jackson Everybody hates the anorexic/bulimics. It's a disease exclusive to spoiled white girls with "negative body image"--a pseudoscientific catchphrase of the pseudoscientific psychiatric community that dominated in the diagnosis-happy 1970s. While people in the rest of the world--the rest of the country, even--starve from hunger, these rich brats "restrict" themselves or "purge." Not helping matters any for Thin, the rare documentary to revolve around something other than Iraq or exotic animals, is that it's a film about an upper-middle-class disease targeted at an upper-middle-class audience. This is an easier subject for them to give…

Sundance ’06: Cinnamon

*½/****starring John Bowles, Erin Stewart, Ashley Bowles, Larry Bowleswritten and directed by Kevin Jerome Everson by Alex Jackson Taking my cue from the official description in the Sundance Film Festival Film Guide, I've been referring to Cinnamon as "the black race-car driver movie." Depiction of race in the movies is a real dilemma: being black is either meaningful or meaningless. If it's meaningful, that means that the black identity is distinguished from non-blacks and is more or less alien and incomprehensible to non-blacks. If being black is meaningless, well, then why make a racing movie with an all-black cast? You…

Sundance ’06: The Ground Truth

The Ground Truth: After the Killing Ends**/****directed by Patricia Foulkrod by Alex Jackson Too often I feel that critics and audiences place documentaries at the kid's table, refusing to critique them on the same level they do fiction films. Narration from the director, sit-down interviews with the subjects--in terms of filmmaking, we let documentaries get away with a lot of really primitive shit we probably wouldn't otherwise. Patricia Foulkrod's The Ground Truth is a pretty good rant, but not much of a movie; Foulkrod made it because she had a burning desire to say something, not because she had a…

Sundance ’06: Jewboy

***½/****starring Ewen Leslie, Naomi Wilson, Saskia Burmeister, Leah Vandenburgwritten and directed by Tony Krawitz by Alex Jackson Following his father's death, Orthodox Jew Yuri quits his rabbinical training and applies for a job as a taxi driver. He's mad at God, mad at his Jewish faith, and eager to experience a world that has been denied him all his life. Jewboy is perhaps the best Martin Scorsese film Martin Scorsese never made--and by that I mean, of course, the Scorsese of Mean Streets, Taxi Driver, and The Last Temptation of Christ rather than the more imitated (and imitable) Scorsese of…

Sundance ’06: The Proposition

*/****starring Guy Pearce, Ray Winstone, Danny Huston, John Hurtscreenplay by Nick Cavedirected by John Hillcoat by Alex Jackson In his review of Rene Cardona's exploitation quickie about the Jonestown Massacre Guyana: Cult of the Damned, Roger Ebert describes how Cardona ends the film with photos of the real-life victims while the audience is solemnly reminded "that those who forget the past are doomed to repeat it," prompting Ebert to crack, "So remember, don't drink cyanide." I only wish that John Hillcoat's The Proposition were that lucid in delivering its Important Lesson. This is a movie at least as gory and…

The Scalphunters (1968) – DVD

**/**** Image A- Sound B
starring Burt Lancaster, Shelley Winters, Telly Savalas, Ossie Davis
screenplay by William Norton
directed by Sydney Pollack

by Alex Jackson In that glorious blow-job-thinly-disguised-as-a-documentary Stanley Kubrick: A Life in Pictures, director Sydney Pollack claims to remember Pauline Kael's pan of 2001: A Space Odyssey "very well." A decade later, he says, the film was considered a classic–suggesting that Kael was seriously out of touch when she reviewed it, I guess. Pollack fails to mention the punch line, though: in the same piece, a notorious essay called "Trash, Art, and the Movies," Kael exalts Pollack's own The Scalphunters! 2001 is pretty lousy art, she decided, while The Scalphunters is pretty great trash. Between the two, she frankly prefers The Scalphunters.

The Flesh Eaters (1964) – DVD

*½/**** Image A Sound A Extras B-
starring Byron Sanders, Barbara Wilkin, Rita Morley, Martin Kosleck
screenplay by Arnold Drake
directed by Jack Curtis

by Alex Jackson When I pan Jack Curtis's The Flesh Eaters, I want you to know that this isn't code to go see it anyway. Watching it, I found myself wondering from time to time if I was no longer capable of appreciating movies like The Flesh Eaters. Comparing my happy memories of Night of the Creeps and the collective work of Ed Wood to this, I've decided that they really do have something that The Flesh Eaters does not. This isn't a "good" bad movie, friends, it's just a bad one.