No Way Out (1987) – Blu-ray Disc

Nowayout1Please note that these screencaps are from an alternate source and do not necessarily reflect the Blu-ray presentation.

***/**** Image B- Sound B Commentary C
starring Kevin Costner, Gene Hackman, Sean Young, Howard Duff
screenplay by Robert Garland, based on the book The Big Clock by Kenneth Fearing
directed by Roger Donaldson

by Walter Chaw I was lucky enough to be 14 in 1987, right at that age where my buddies and I were dropped off at the theatre by our parents for whatever we wanted to see. Because we were generally not well-supervised in such matters, we talked them into buying us tickets for stuff like Hellraiser, RoboCop, Lethal Weapon, Full Metal Jacket, and The Untouchables. My first R-rated theatrical experiences were, in other words, magical. They were gleefully violent, extravagantly so, and the sex… Jesus. The sex in mainstream movies in 1987 was combustible–enough so that it formed the backbone of my onanism for the next several years. I saw Angel Heart this way, and Fatal Attraction of course. Key in there is Roger Donaldson’s largely-forgotten but durable political-paranoia thriller No Way Out. Starring Kevin Costner, cementing a legendary winning streak that began a month or two earlier with his star-making turn in The Untouchables and continued with the dead sexy Bull Durham the following year and the legendarily-chaste Field of Dreams a year after that. Lost in conversations about Costner’s stardom during this period is his preternatural ability to be an Everyman sex symbol. Girls loved him, and guys didn’t mind because Costner isn’t really all that threatening. He sure is likable, though. When he introduced a note of menace into his nice-guy archetype in A Perfect World, he, in fact, discovered his perfect role. The problems came when he tried to be something more than that. Cowboy, baseball player, fish-man, all-around all-American? No problem. Attorney, doctor–now we got issues.

Knightriders (1981); Monkey Shines (1988); The Dark Half (1993) – Blu-ray Discs

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George A. Romero’s Knightriders
*½/**** Image B+ Sound B Extras A
starring Ed Harris, Gary Lahti, Tom Savini, Amy Ingersol
written and directed by George A. Romero

MONKEY SHINES
*½/**** Image B- Sound B Extras C+
starring Jason Beghe, John Pankow, Kate McNeil, Joyce Van Patten
based on the novel by Michael Stewart
written for the screen and directed by George A. Romero

THE DARK HALF
**/**** Image B Sound B Extras A
starring Timothy Hutton, Amy Madigan, Julie Harris, Michael Rooker
based on the book by Stephen King
written for the screen and directed by George A. Romero

by Walter Chaw Knightriders, George A. Romero’s very own Fast Company, is another of the earnestly socially-conscious filmmaker’s earnestly socially-conscious films, though one without the benefit of a metaphor that holds any kind of water. It doesn’t even have an argument that makes sense. It feels like Romero over-identifying with the topic and losing the thread somewhere along the way–and padding the runtime with far too many pedestrian bike stunts. There’s something to be said for personal projects (Romero’s work seems like it’s all personal, frankly), but with that intimacy comes real peril. I will say Romero’s Night of the Living Dead is a no-kidding masterpiece. It’s one of the best films ever made and perhaps the single most important Civil Rights picture, too. I’m partial to his Day of the Dead as well, for the cleanness of its execution and for the interesting things it has to say about identity and the military-industrial complex. It’s fair to wonder, then, if Romero is tied so inextricably to the zombie genre not because (or not just because) of timeliness (and that he essentially invented an entire subgenre with a legion of imitators), but also because without zombies, his stuff is only leaden and clumsy. Without zombies functioning as they do, as both grand bogey and versatile metaphor, Romero’s weighed down by a lethal payload of well-meant proselytizing, and just like that the flat artlessness of his films feels less “spartan” on purpose than “affectless” by accident.

Midnight Special (2016) – Blu-ray Disc

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***½/**** Image A Sound A Extras C
starring Michael Shannon, Joel Edgerton, Kirsten Dunst, Sam Shepard
written and directed by Jeff Nichols

by Walter Chaw Jeff Nichols’s Midnight Special is beautiful. It’s a film about aspiration and sacrifice. It believes that the world is still a mysterious place anchored by love and hope and devotion to simple ideas about how hard it is to be a parent–and how important. It’s about nurturing a thing with all your heart and letting it go when it’s strong enough. It’s about listening when it’s the last thing you want to hear; it’s about believing there’s a future for your kids even if all evidence seems to suggest the opposite. It’s like Tomorrowland in many ways, but mostly in its suggestion that there’s a place maybe where things feel like they used to feel when you were a kid and everything was still possible. Even though nothing made sense, things would make sense one day when you were big. Midnight Special deserves its comparisons to films like E.T. and Starman and especially Close Encounters of the Third Kind. It works in the same small places with ordinary characters who grow to fill larger, echoing spaces. Nichols puts us in medias res with Roy (Michael Shannon) and his best friend Lucas (Joel Edgerton) on the run from cult leader Calvin Meyer (Sam Shepard), having fled at some point before the movie starts with Roy’s son, Alton (Jaeden Lieberher). We learn it was around Alton’s oddities that the cult largely formed. We learn that Alton’s oddities are perhaps supernatural, or extraterrestrial, or interdimensional. It doesn’t really matter. They’re profoundly strange, and there are times it appears that he’s able to tell a little of the future.

Star Trek II: The Wrath of Khan (1982) [Director’s Cut] – Blu-ray Disc

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****/**** Image A Sound A- Extras A
starring William Shatner, Leonard Nimoy, DeForest Kelly, Ricardo Montalban
screenplay by Jack B. Sowards
directed by Nicholas Meyer

The film portion of this review comes from a piece originally published in July of 2000 that also critiqued the A/V quality of Star Trek II: The Wrath of Khan‘s very first DVD release. I opted not to repost Vincent’s comments on the DVD proper because they no longer seemed relevant, especially in this context.-BC

by Vincent Suarez Legend has it that, despite the popularity of television reruns and the stunning phenomenon of “Star Trek” conventions, Paramount green-lighted Star Trek: The Motion Picture only after the success of Star Wars, in an envious bid for a sci-fi blockbuster of its own. In the minds of many fans and critics, however, director Robert Wise delivered a film that more closely approximated Star Bores. (For the record, I love the film’s slow pace and its oft-neglected reprisal of themes from my favourite classic “Trek” episode, “The Changeling.”) While not the huge grosser the studio was hoping for, fans turned out in strong enough numbers to warrant a sequel, and a cash cow was born. There have since been eight additional films and three spun-off television series, but the most brilliant Trek effort remains that first sequel, Star Trek II: The Wrath of Khan.

Sorceress (1995) [Uncensored Director Approved Edition] – Blu-ray Disc

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Temptress
*½/**** Image B+ Sound B Extras B

starring Larry Poindexter, Rochelle Swanson, Julie Strain, Linda Blair
written by Mark Thomas McGee
directed by Jim Wynorski

by Bryant Frazer If there’s any doubt what kind of movie he’s made, director Jim Wynorski dispels it in the opening moments of Sorceress, as B-movie bombshell Julie Strain appears frontally nude, lighting a candle and muttering a witchy incantation. Although she’s dead by the end of the first reel, her influence lingers as she taunts ex-husband Larry (Larry Poindexter) from beyond the grave in flashbacks and sexy visions that culminate in Strain’s Erica glaring up at him from her corner of a three-way, promising, “You’ll never be rid of me” as he watches, sad-faced and helpless, like a kid who dropped his ice-cream cone.

Zootopia (2016) – Blu-ray + DVD + Digital HD

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***/**** Image A Sound B+ Extras B
screenplay by Jared Bush & Phil Johnston
directed by Byron Howard, Rich Moore

by Walter Chaw Early on in Disney’s Zootopia, directed somehow by a triumvirate (Byron Howard, Rich Moore, Jared Bush) from a screenplay by Bush and Phil Johnston, a baby fox declares that it would like to grow up to be an elephant. It even has an elephant hoodie; the creature idolizes, it appears, elephant culture. It gets a laugh. It’s worth the conversation to wonder what about this is funny. At its essence, the idea that something could grow to be something else is funny. It’s also funny because it knowingly, gently pokes fun at our culture of “you can be anything you want to be,” the source of more sometimes-murderous disappointment than any other child-rearing strategy endemic to the West. Astronaut? No problem. And Zootopia opens on a children’s pageant where a little animal solemnly declares that where in primordial times he would have been predator or prey, in civilized times, he has the choice to maybe be an astronaut, or an accountant. The third way this is funny is harsher, in that it begins to touch on the truism that there are certain traits you’re born with, and while that’s a no-brainer when it comes to the rest of the animal kingdom, it’s a tough thing for most proud Judeo-Christians to accept. We have hardwiring, see, and accepting that means there are a lot of other things we need to accept as well, almost none of them politically correct and all of them fraught with delicate dancing around the issue. Zootopia is complicated as hell.

Bride of Re-Animator (1990) [3-Disc Limited Edition] – Blu-ray + DVD

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H.P. Lovecraft’s Bride of Re-Animator
**/**** Image B+ Sound C Extras A-

starring Bruce Abbott, Claude Earl Jones, Fabiana Udenio, Jeffrey Combs
screenplay by Woody Keith and Rick Fry
directed by Brian Yuzna

by Bryant Frazer Bride of Re-Animator is surely one of the biggest missed opportunities in the history of franchise filmmaking. Stuart Gordon’s 1985 classic Re-Animator wasn’t a fluke–it had been lovingly developed over a number of years by Chicago native Gordon, who initially planned to make it with his Organic Theater buddies. When they demurred, it was just dumb luck that landed the project with producer Brian Yuzna at the genre sausage factory that was Hollywood’s Empire International Pictures. The sequel, on the other hand, was developed as a directorial vehicle for Yuzna, who claims time constraints related to the financing precluded Gordon’s participation. So screenwriters Rick Fry and Woody Keith, who wrote Yuzna’s directorial debut, Society, hacked a new script together in a big hurry. The end result is hard to consider on its own merits because of the big question mark for Re-Animator fans: What could this have looked like if the original film’s creative team had been in charge?

Anomalisa (2015) – Blu-ray + DVD + Digital HD

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****/**** Image A Sound A Extras B+
written by Charlie Kaufman
directed by Charlie Kaufman & Duke Johnson

by Walter Chaw Writing about a Charlie Kaufman film, if you do it honestly, is writing about yourself. I’ve said before, and it helps me to repeat it, that I don’t really understand Kaufman’s films, but that they do understand me. Kaufman is the most important, innovative voice in American cinema since Orson Welles, and though he has enjoyed more autonomy in expressing that voice than Welles, I would argue that the seven years separating his directorial debut, Synecdoche, New York, and this follow-up, a stop-motion collaboration with Duke Johnson called Anomalisa, suggest that it’s not as easy as it should be. Certainly, the journey that Anomalisa has taken is far from conventional, from Kaufman play written under the pseudonym “Francis Fregosi,” through a Kickstarter campaign, through the general challenge of making an adult-themed animation in a country that sees animation as a genre not a medium, to now this tour of festivals, looking for distribution. The play was introduced as part of a Carter Burwell project titled “Theater of the New Ear”. It was a late replacement on a Kaufman/Coen Bros. double-bill when the Coens “dropped out” at the eleventh hour, and this unknown Fregosi’s piece took its place.

Hail, Caesar! (2016) – Blu-ray + DVD + Digital HD

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Hail, Caesar!: A Tale of the Christ
****/**** Image A+ Sound A Extras C

starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes
written and directed by Joel & Ethan Coen

by Walter Chaw Halfway through the Coen Brothers’ Hail, Caesar!, studio head/fixer Eddie Mannix (Josh Brolin playing Jon Polito) stands against the opulent, grand entrance to his golden-age Hollywood movie studio and talks about the coming of the future. There’s a scene in a Chinese restaurant where someone pulls out a photograph of a mushroom cloud taken at a freshly-nuked Bikini Atoll and declares, solemnly, that it’s a picture of the future. There’s another scene where waves crash against a pair of rocks in a direct callback to Barton Fink, the Coens’ other golden-age Hollywood homage, outside the bachelor-pad mansion of Gene Kelly-type Burt Gurney (Channing Tatum), who happens to be the head of an enclave of Communists (are there ten?) calling themselves “The Future.” The Coens at their best describe spiritual blight. They do it in a lot of ways, across multiple genres. Hail, Caesar! opens with Mannix, a real-life figure in Hollywood tangentially connected to George Reeves’s death (murder? Suicide? Who knows?), in a confessional just a day after his last confession and a day before his next. (“Really, it’s too much, Eddie. You’re not that bad.”) Mannix–more fictional than actual, it should be noted, in exactly the same way that O Brother, Where Art Thou? is the most faithful adaptation of The Odyssey there ever was despite having almost no relationship to the literal text–indeed doesn’t seem all that bad when most of what he confesses is lying to his wife (Alison Pill) about quitting cigarettes. “It’s hard, Father.” And he cries. The movie is about spiritual blight, and the sin that Mannix is constantly trying to confess is that he doesn’t know what he believes. For me, the Coens are at their best when they tackle this spiritual blight through the prism of artists and their attempts to create. Every artist is a Frankenstein. Every work is a monster.

Pumpkinhead (1988) [Collector’s Edition] – Blu-ray Disc

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***/**** Image A Sound A Extras A
starring Lance Henriksen, John D’Aquino, Kerry Remsen
screenplay by Mark Patrick Carducci with Gary Gerani
directed by Stan Winston

by Walter Chaw F/X legend Stan Winston’s directorial debut, Pumpkinhead is a strong piece with a few indelible moments. The first is when a country witch summons the titular bogey using the blood of a dead kid; another is when that same creature stalks past a kitchen window like an early draft of the Alien hybrid from Alien: Resurrection, with a similar miscegenated backstory. Between and around these high points is a boilerplate vengeance intrigue that literalizes the sins of the fathers in a Passion Play surrounding widowed dad Ed (Lance Henriksen), who, in blind grief over the loss of his adorable young son (Matthew Hurley), binds himself psychically, and physically, to the monster he’s raised as his avatar. It’s a Frankenstein story in that way, one with shades of E.T.–the bond between Elliot and his wrinkled flesh buddy is reconstituted in the relationship between Ed and an eight-foot monstrosity that’s a little bit one of those naked cats and a little bit Giger. An impressive shot establishing Pumpkinhead as he strides into the skeleton of an old, broken-down church in blue half-light suggests more than the triumph of practical effects on a low budget and tight shooting schedule: it suggests that the film’s simplicity could–should–be read as pagan folktale, complete with cautionary spiel, brutal exposition, and a surprisingly strong moral grounding. Pumpkinhead is literally about the impossibility of objective violence–every action, no matter how intimate or remote, has a spiritual impact on both victim and perpetrator. It’s a surprisingly rich vein for something like this to mine, and it resonates.

Zoolander No. 2 (2016) [The Magnum Edition] – Blu-ray + DVD + Digital HD

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Zoolander 2
**/**** Image A- Sound A Extras C

starring Ben Stiller, Owen Wilson, Will Ferrell, Penélope Cruz
written by Justin Theroux and John Hamburg & Ben Stiller and Nicholas Stoller
directed by Ben Stiller

by Bill Chambers It opens with Justin Bieber taking more bullets than Sonny Corleone. So far, so good. Bieber commemorates his death with an Instagram selfie, which makes me want to purse my lips against my fingertips and blow a kiss to the chef–mwah! News of Bieber’s assassination raises alarms at Fashion Interpol, where his death selfie is compared against those of several other musicians, all of whom died making the same pouty face as Bieber. (Madonna being among them strikes me as more of a production designer’s idea of a joke.) Struggling to decipher the meaning of the pose, Agent Valentina Valencia (Penélope Cruz) finally surrenders to the idea that there’s only one person who might have the insight she needs: Austin Powers! No, wait–Derek Zoolander (Ben Stiller)!

Manhunter (1986) [Collector’s Edition] – Blu-ray Disc

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***½/**** Image A- Sound A Extras A
starring William L. Petersen, Kim Greist, Joan Allen, Brian Cox
screenplay by Michael Mann, based on the Thomas Harris novel Red Dragon
directed by Michael Mann

by Walter Chaw Director Michael Mann’s third film is the remarkable Manhunter, the second cinematic adaptation of a Thomas Harris novel (the first being 1977’s John Frankenheimer-helmed Black Sunday) and the first to feature Harris’s dark serial-killer antihero, Hannibal Lecter (spelled “Lecktor” in Manhunter). It is visually lush and possessed of the attention to craft and detail that has become a hallmark of Mann’s work; to say that it’s superior in nearly every way to the much-lauded and wildly popular The Silence of the Lambs would be something of an understatement.

The Stuff (1985) – Blu-ray Disc

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**½/**** Image A Sound B+ Extras B
starring Michael Moriarty, Andrea Marcovicci, Garrett Morris, Patrick O’Neal
written and directed by Larry Cohen

by Bryant Frazer “Enough is never enough.” So goes a key advertising tagline featured in The Stuff, a bracingly contemptuous critique of consumer culture from Larry Cohen–a man who knows a thing or two about exploiting mainstream tastes. Well regarded among B-movie buffs as a master of high-concept screenwriting coupled with low-budget execution, Cohen was, in his 1970s and 1980s heyday, what auteurists call a smuggler: a writer-director who embeds subversive social commentary in otherwise innocuous genre storylines. The Stuff‘s science-fiction scenario offered some bare-bones corporate intrigue along with a few opportunities for the special make-up effects team, but it also lampooned the businessmen who hawk goods of dubious quality and the haplessly credulous populace that lines up to buy them. The film’s eponymous grocery product is a mysterious but plentiful and apparently tasty substance that burbles up, unbidden, from beneath the earth’s surface. Capitalism being what it is, the distinctive white gloop is quickly productized and monetized by a corporation that doesn’t realize (or doesn’t care) that The Stuff seems to move with a mind of its own.

Sonny Boy (1989) – Blu-ray Disc

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**½/**** Image B+ Sound B+ Extras B
starring David Carradine, Paul L. Smith, Brad Dourif, Michael Griffin
original screenplay by Graeme Whifler
directed by Robert Martin Carroll

by Bryant Frazer David Carradine wears a dress and nobody says a word about it for the duration of Sonny Boy, a low-budget thriller set in a timeless Panavision desert where the preferred modes of transportation are dirt bikes and dusty pickup trucks. It eschews mainstream cultural signifiers–the one glaring exception is the blonde with tousled music-video hair and ridiculous outfits straight out of Desperately Seeking Susan–and instead dedicates itself to world-building, making its arid small-town environment a microcosm for the cold world outside. So complete is Sonny Boy‘s conception of a cruel universe in miniature that it comes with a downbeat theme song written and performed, right there on screen, by Carradine himself. (A lyric from said song* is engraved, I kid you not, on Carradine’s tombstone.) Carradine is the big name, but the whole cast is better than it needs to be, and that makes a difference. They add a recognizably human element to an otherwise demented scenario and, even more importantly, they keep a film that sometimes feels almost like outsider art from amplifying its self-conscious idiosyncrasies to the point of out-and-out parody.

The Texas Chainsaw Massacre 2 (1986) [The Gruesome Edition] – DVD + The Texas Chainsaw Massacre Part 2 [Collector’s Edition] – Blu-ray Disc

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The Texas Chainsaw Massacre 2
***/****
BD – Image A Sound B+ Extras A

DVD – Image B+ Sound B- Extras B
starring Dennis Hopper, Caroline Williams, Jim Siedow, Bill Moseley
screenplay by L.M. Kit Carson
directed by Tobe Hooper

by Walter Chaw If the first film is about living with malevolent ghosts–the sins of the father made flesh and leather, if you will–then the second is a cunning piece about the Reagan ’80s: the fantasia, the nostalgia, the delusions of grandeur, the inflationary monomania, and, finally, the decay of actual values in a society believing itself to be the illusory City on the Hill. The Texas Chainsaw Massacre 2 is also a highly sexualized film, the American Psycho of its day, mixing sex with money until the two are indistinguishable from the great gouts of blood, bluster, and designer suits used in their acquisition. The picture’s smart enough to be a commentary on its time while its time is still unspooling. Undeniably, there’s something bankrupt about the morality of this story told in this context–the rise of corporations in the McDecade skewered as the monster Sawyer clan of the original launches a successful man-meat chilli business with affable, no-longer-reluctant Cook (Jim Siedow) as its clown pitchman. The Texas Chainsaw Massacre 2 can be read as every bit the product of its era as the following year’s Wall Street and Predator–a science-fiction of regression and animalism that is not entirely unlike its star Dennis Hopper’s Blue Velvet, also from 1986. It feels like the twelve years separating source and sequel (just like the ten that separate the first two George Romero “Dead” movies) mark director Tobe Hooper as a sharp sociologist when painting with this very specific brush, evolving the tumor of the Vietnam War manifested as a pair of lumpen bogeys on a young girl’s back into this florid bloodbath erected on those conservative tent poles of mass media, mass consumerism, and misguided phallic projection. No accident, either, one supposes, that its central avenging angel is a dim-witted, swaggering cowboy figure, ambling in from the 1950s to win fights we’ve already lost.

Bitter Rice (1949) [The Criterion Collection] – Blu-ray Disc

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Riso amaro
****/**** Image A- Sound A- Extras B
starring Vittorio Gassmann, Doris Dowling, Silvana Mangano, Raf Vallone
screenplay by Corrado Alvaro, Giuseppe De Santis, Carlo Lizzani,Carlo Musso, Ivo Perilli, Gianni Puccini
directed by Giuseppe De Santis

by Bryant Frazer Bitter Rice is a heck of a film. It’s the story of a couple of refugees from an American film noir who stumble into a grindhouse showing an Italian social-issues drama. The beautiful losers are Walter and Francesca (Vittorio Gassman and Doris Dowling), a pair of small-time crooks on the run following the heist of a lifetime. The social conscience is personified by a class of peasant women who have for hundreds of years travelled from all over the country to work hard days in the rice fields of northern Italy, and also by, to some degree, ethical, committed soldier Marco (Raf Vallone), who lingers in the rice fields after his discharge because he has come to care about the fate of the women there. And the sex appeal is provided, in spades, by Silvana Mangano, a bombshell and a half. When producer Dino de Laurentiis and director Giuseppe De Santis cast the 18-year-old in the role, she had already appeared in a few films and had been the teenaged girlfriend of young Marcello Mastroianni. But her performance in Bitter Rice–a role that had her shaking her tits, swinging her hips, and hiking her skirt up to here–made her an overnight sensation.

Star Wars: The Force Awakens (2015) – Blu-ray + DVD + DigitalHD

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Star Wars: Episode VII – The Force Awakens
***½/**** Image A Sound A Extras B

starring Harrison Ford, Mark Hamill, Carrie Fisher, Max Von Sydow
written by Lawrence Kasdan & J.J. Abrams and Michael Arndt
directed by J.J. Abrams

by Walter Chaw I was four when I saw Star Wars. It was the first time I’d seen a film in a theatre; it was the first film I’d seen, period. I didn’t speak a word of English. It was overwhelming, and I’m discovering, after watching J.J. Abrams’s Star Wars: The Force Awakens (hereafter Star Wars 7), that it imprinted itself on my DNA. Thirty-eight years later, I collect the toys my parents couldn’t afford to buy me when I was a kid–the ones I played with at friends’ houses, when I pretended to be Luke Skywalker (Mark Hamill) as a child of immigrants doing his best to fit into a society that promised blond and blue-eyed messiahs. My office is full of these toys. They are fetishized relics for me. I hold them and they possess a totemic value. The curve of a molded plastic stormtrooper’s helmet reminds me of the department store where I looked at it through the packaging–and of my delight at my mom one day buying me one, which I opened on the way home in the backseat of the family car.

The Hateful Eight (2015) – Blu-ray + DVD + Digital HD

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**/**** Image A Sound A Extras C-
starring Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Bruce Dern
written and directed by Quentin Tarantino

by Walter Chaw Quentin Tarantino’s eighth film, The Hateful Eight, features eight hateful people trapped in a small space during a blizzard. The hullabaloo surrounding its release has to do with the production shooting in an extinct widescreen format (70mm anamorphic) and putting up a lot of money so that it can be screened accordingly in select theatres. A few critics have misidentified its vistas as belonging to Wyoming (it was filmed in Telluride, Colorado), which is understandable given that only about five minutes of the 187-minute running-time is spent outside. There hasn’t been a Tarantino feature until this one that I haven’t loved; I believe he is our finest working film critic. He understands things about the movies he pulls from–that certain traditions of Japanese and exploitation filmmaking are strongly feminist, that blaxploitation was initially empowerment before it was instantly gentrified, that the best slave narratives involve legacies of violence, which is why Lalee’s Kin and Django Unchained have a biological connective bridge. I’ve learned more about movies from watching Tarantino than I have from watching Godard, who’s actually trying to teach me something. I think the Kill Bill saga is a remarkable statement about motherhood. I find his dialogue to be distinctive and sometimes exhilarating. I struggled with disliking The Hateful Eight for each of its 187 minutes. It’s the first time I’ve ever understood the popular criticism of Tarantino as self-indulgent, nihilistic, misogynistic, even racist. I don’t agree with every charge, but I do get it now. It’s the first time, too, that I was troubled by a plot point in his film: there’s someone in the piece who hates Mexicans, see, but when we get a flashback to this person engaging with a Mexican, we see that this is a fallacy. I can’t figure out if this was intentional; I fear that it wasn’t. I fear, more, that this is evidence that, for the first time, Tarantino has lost control of his screenplay. I also finally felt the loss of Sally Menke, who was his Marcia Lucas. I hope it’s not a harbinger of things to come.

Jack’s Back (1988) – Blu-ray + DVD Combo Pack

Jacksback1Please note that these screencaps are from an alternate source and do not necessarily reflect the Blu-ray presentation.

***/**** Image B+ Sound B Extras B
starring James Spader, Cynthia Gibb, Jim Haynie, Robert Picardo
written and directed by Rowdy Herrington

by Walter Chaw A quintessential dirty ’80s thriller, Rowdy Herrington’s frankly fantastic Jack’s Back follows a Jack the Ripper copycat killer circa 1988 who, it appears, is interrupted during his last murder by earnest, likeable med student John (James Spader), who’s quickly dispatched for his erudition. When I saw Jack’s Back on VHS in ’88, I was shocked by the brutality of John’s murder and that it happens about fifteen minutes into the film. Rick (also Spader), John’s twin, has a dream of his brother’s murder and appears on the scene–to the consternation of John’s grieving coworkers–to investigate the circumstances of his death. It’s a fascinating conceit, or a silly one made fascinating by Herrington’s execution of it and by a dual performance as subtle and compelling, in its way, as Jeremy Irons’s turn in Cronenberg’s Dead Ringers from the same year. Spader manages the neat trick of being two different people who aren’t two easily distinguishable types. You see the rebellion nascent in the “good” brother; you see the vulnerability in the “bad” one. Silly to say, maybe, but you see elements of one in the other. Spader’s interactions with Cynthia Gibb, playing John’s co-worker at a free clinic, are radically different from brother to brother, though not theatrically so. More than a thriller, Jack’s Back is a brilliant character study.

Living in Oblivion (1995) – DVD|[20th Anniversary] – Blu-ray Disc

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***/****
DVD – Image B Sound B Extras B-
BD – Image B+ Sound B+ Extras B+
starring Steve Buscemi, Catherine Keener, Dermot Mulroney, Danielle Von Zernick
written and directed by Tom DiCillo

by Walter Chaw A film carefully structured in three parts, Tom DiCillo’s Living in Oblivion demands tired adjectives like “offbeat” and “quirky” while dancing dangerously close to hyperbole along the lines of “brilliant” and “incisive.” What it is, though, is its own beast–a meta-structure of dream sequences (the first two segments “are,” the third is “about”) concerning six takes of scene six–the devil’s number applied to the trials of filmmaking, including technical accidents, the egos of the stars, and behind-the-scenes relationships that threaten professionalism. With those plates spinning, DiCillo layers in elements of fantasy bleeding into reality (the second section ends with the oft-repeated scene sloughing into “reality,” then into dream), the final segment integrating spoof symbols (an apple, a little person) with a real symbol (the mother).