Sundance ’20: Beast Beast

February 1, 2020Posted in2020, Authors: Walter Chaw, Drama, Film Festivals, Sundance, Teen

Sundance20beastbeast

*½/****
starring Shirley Chen, Will Madden, Jose Angeles, Courtney Dietz
written and directed by Danny Madden

by Walter Chaw SPOILER WARNING IN EFFECT. Slacking around in the common area shared by Elephant, Madeline's Madeline, and Skate Kitchen, Danny Madden's message-heavy melodrama Beast Beast would've been better served just being about the difficulties of adolescence without wading into the gun debate. Once this pretty decent hangout flick tries to gain some gravitas, it invites close scrutiny of the ways it's going about it. One side will start looking for reasons to discredit it, while the other will be burdened by this uneasy recognition that sometimes, undisciplined good intentions make the struggle harder. There's a fine line between a cogent argument, after all, and The Life of David Gale, and Beast Beast is further evidence that liberals tend to be their own worst enemy. It's too bad.

Sundance ’20: La Leyenda Negra

February 1, 2020Posted in2020, Authors: Walter Chaw, Drama, Film Festivals, Sundance, Teen

Sundance20laleyendanegra*/****

starring Monica Betancourt, Kailei Lopez, Irlanda Moreno, Justin Avila
written and directed by Patricia Vidal Delgado

by Walter Chaw Shot in black-and-white, Patricia Vidal Delgado's La Leyenda Negra is filled with good intentions. It's the story of El Salvadoran Aleteia (Monica Betancourt), a high-school senior studying with a "Temporary Protected Status" that's about to be rescinded under Trump's xenophobic, white-nationalist administration. She has a scholarship to UCLA, the film is quick to remind, but she still has to make it through graduation. Easier said than done when her school's curriculum seems set on teaching antiquated attitudes towards imperialism and the genuine evil of nations that have devastated whole populations in the name of Manifest Destiny. There's a classroom scene where Aleteia corrects her white teacher's pronunciation of her name before laying into her for perpetuating the party line. Aleteia is meanwhile developing a crush on Rosarito (Kailei Lopez–a budding star, perhaps), a shy girl in the sway of a monstrous bully, Monica (Irlanda Moreno), who does not approve of potentially losing an acolyte to the interloper.

Sundance ’20: Summer White

January 31, 2020Posted in2020, Authors: Walter Chaw, Coming of Age, Drama, Film Festivals, Mexico, Sundance

Sundance20summerwhite

Blanco de Verano
**½/****
starring Adrián Rossi, Sophie Alexander-Katz, Fabián Corres
written by Rodrigo Ruiz Patterson & Raúl Sebastián Quintanilla
directed by Rodrigo Ruiz Patterson

by Walter Chaw Aspiring for something like The 400 Blows with a young protagonist who looks and acts like 15-year-old Jean-Pierre Léaud, Rodrigo Ruiz Patterson’s directorial debut Summer White seeks to explain the pain and occasional outbursts of a young man coming of age without the means to express himself. The film’s style lies somewhere at the intersection of early Harmony Korine and Ken Loach: it’s aggressively not-showy–so devoted to its austerity and so accomplished in achieving it, in fact, that its aesthetic humility becomes a kind of distraction. It looks beautiful. Maybe too beautiful. It looks like an Y Tu Mamá También while acting like a Ratcatcher or a Kes, and reconciling that dissonance begins to feel difficult. In the end, what disappoints most about Summer White is that I started to question whether the film wanted to be something for its own sake or if it was just something done by someone who’d seen a few Linda Manz movies and thought she was really great. I mean, she is, of course. Linda Manz is awesome.

Sundance ’20: High Tide

January 30, 2020Posted in2020, Argentina, Authors: Walter Chaw, Film Festivals, Horror, Sundance, Thriller

Sundance20hightide

***½/****
starring Gloria Carrá, Jorge Sesán, Cristian Salguero, Mariana Chaud
written and directed by Verónica Chen

by Walter Chaw Verónica Chen's astonishing High Tide threatens for a while to be the distaff version of Alain Guiraudie's Stranger by the Lake before it takes something like a turn into the basement of some dark, dismal, class-based noir. It opens with rich, anxious Laura (Gloria Carrá) dancing in front of an uncurtained, wall-length window, seemingly aware of the three workmen watching in her yard as the sun goes down and they break for the day. The foreman, Weisman (Jorge Sesán), stays behind to a couple of sly, knowing looks, and engages in a rough seduction that finds Laura at turns the aggressor and the aggrieved. She doesn't like the rough talk. She thinks Weisman's a bit of a pig but softens when he apologizes and calls her "ma'am." It's a clue–though it's not obvious what kind of clue until later. The next morning, she sends him away and, while shopping, gossips to a friend about the size of Weisman's dick and his "animalistic" stamina. It's the set-up for something James M. Cain might have written, but it's told from the point of view of the fatale.

Sundance ’20: Leap of Faith: William Friedkin on ‘The Exorcist’

January 30, 2020Posted in2020, Authors: Walter Chaw, Directors: William Friedkin, Documentary, Film Festivals, Spain, Sundance

Sundance20leapoffaith

**/****
directed by Alexandre O. Philippe

by Walter Chaw There’s a moment in Leap of Faith: William Friedkin on ‘The Exorcist’ (hereafter Leap of Faith), the latest feature from cinephile documentarian Alexandre O. Philippe (78/52), where Friedkin talks about a shot he framed so that Max Von Sydow is in the foreground of the Tomb of Nebuchadnezzar. It’s followed fast by Friedkin talking about how he didn’t intend anything in The Exorcist. In other words, he says he didn’t impose meaning and then immediately offers exceptions. He brings up instinctual filmmaking after speaking to how carefully he developed the script to be a series of slow revelations and portents. Friedkin is, in short, a mass of contradictions. But rather than look on it as disingenuousness or confusion, I sense that he doesn’t really know why The Exorcist works the way it does, but it got under his skin and into his bed in the same way it has for audiences these past 47 years. We do our best to dance about architecture, but in the end, architecture can only be enhanced by the dance, not defined by it.

Sundance ’20: Once Upon a Time in Venezuala

January 29, 2020Posted in2020, Austria, Authors: Walter Chaw, Brazil, Documentary, Film Festivals, Sundance, Venezuala

Sundance20onceuponatimeinvenezuala

*/****
directed by Anabel Rodríguez Ríos

by Walter Chaw My favourite part of Anabel Rodríguez Ríos's pretty documentary Once Upon a Time in Venezuela isn't the mad woman who has a shrine to Hugo Chavez and forces people to touch a giant, door-sized poster of him before entering her room, nor is it the two old men who cry while talking about the way things used to be in their little floating/stilts-bound town of Congo Mirador before playing pointed tunes on an old rat-box guitar. No, my favourite part of Once Upon a Time in Venezuela is how it's loosely structured around a doomed election that has no real bearing on this tiny place's inevitable disintegration. There's a lot to pull from this idea that the works of Man are but a speck of dust and all that–a mote in God's design, right? Some of the locals, especially one garish busybody, are also displeased with the quality of education their children are receiving while the world falls apart around them. It's fun to watch people without a future try to plan for the future. And then you realize the film is talking about us.

Sundance ’20: And Then We Danced

January 28, 2020Posted in2020, Authors: Walter Chaw, Coming of Age, Drama, Film Festivals, France, Georgia, Romance, Sports, Sundance, Sweden

Sundance20andthenwedanced

***/****
starring Levan Gelbakhiani, Bachi Valishvili, Ana Javakhishvili, Kakha Gogidze
written and directed by Levan Akin

by Walter Chaw I don’t know that Levan Akin’s beautifully-shot, sensitively-performed And Then We Danced does anything especially novel, but it lands everything it attempts. That’s an apt metaphor, I think, for a film about an elite Georgian dance troupe that ends with an audition where our hero, Merab (Levan Gelbakhiani), Curt Schilling-bloody-socks his way through a gutsy routine. It plays out a lot like the audition in Luca Guadagnino’s Suspiria reboot in all its physicality and injury fear/revulsion, just as the rest of it plays out like Guadagnino’s Call Me By Your Name in the broad strokes of its gay coming-of-age melodrama. And Then We Danced is derivative, sure, but at least it’s derivative of the right films.

Sundance ’20: Amulet

January 27, 2020Posted in2020, Film Festivals, Horror, Sundance, UK

Sundance20amulet

***/****
starring Carla Juri, Alec Secareanu, Angeliki Papoulia, Imelda Staunton
written and directed by Romola Garai

by Walter Chaw Romola Garai makes her directorial debut with the gnarly, self-described “feminist” horror film Amulet, which doesn’t tread much new ground until, suddenly, it does. It’s a lovely debut, smart and fruitfully repugnant–an able showcase for Garai as a filmmaker possessed of a nice sense of pacing and a good, gothic eye for object placement and gore. One scene, taking place in the musty attic of a crumbling old house, made me feel exactly the way I felt the first time I saw Clive Barker’s Hellraiser, back when I was a teenager and easier to freak out. Something about unnatural births, and all that, and unexpected apertures opening with unexpected wetness, carried off with this impeccable feeling for archetypally disturbing ideas. Telling more would be telling, but from that point on–about two-thirds of the way in–Amulet not only had my attention, it also had my respect.

Terminator: Dark Fate (2019) – 4K Ultra HD + Blu-ray + Digital

January 27, 2020Posted in2019, 2020, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Hungary, Schwarzenegger, Sci-Fi, Spain

Vlcsnap-2020-01-26-16h26m11s704Please note that all framegrabs are from the 1080p version

***/**** Image A- Sound A Extras B-
starring Linda Hamilton, Arnold Schwarzenegger, Mackenzie Davis, Natalia Reyes
screenplay by David Goyer & Justin Rhodes and Billy Ray
directed by Tim Miller

by Walter Chaw There’s a moment in Terminator: Dark Fate–the sixth entry in the long-running franchise but a do-over in terms of narrative continuity–where a woman, mortally wounded, gives consent for things to be done with her body after she’s gone. It’s a small moment, and one that works to move the film’s exposition, but it speaks volumes to how carefully the script, by David S. Goyer, Justin Rhodes, and Billy Ray, has endeavoured to be at least partly a conversation about how women are reduced to their physical function and appearance. “He’s not here for you, he’s here for your womb,” says a grizzled Sarah Connor (Linda Hamilton) to frightened, on-the-run Dani (Natalia Reyes)–but “he,” a killer robot from the future called a “Rev-9” (Gabriel Luna), isn’t. He’s there for something else. The picture opens with Sarah’s videotaped therapy session from Terminator 2, in which she recounts her dream of nuclear Armageddon–a reminder of how her carefree party-girl character from the original had transformed through the trauma of losing a lover and escaping a monster from the future, only to be branded crazy by an unctuous male therapist and imprisoned in a facility where we witness her further humiliation and assault. Dark Fate shows what happens to Sarah and her son, the saviour of the future and a target of two assassination attempts, while in hiding in Guatemala, then hops forward into our present to the arrival in a ball of blue lightning of Grace (Mackenzie Davis), who, upon proving her battle-worthiness (and artificial augmentation) against a trio of adversaries, clothes herself in a man’s attire even though a woman’s is available. Function, the decision suggests, over appearance.

Sundance ’20: La Llorona

January 26, 2020Posted in2020, Authors: Walter Chaw, Drama, Film Festivals, France, Guatemala, Horror, Sundance

Sundance20lallorona
***½/****
starring María Mercedes Coroy, Margarita Kénefic, Sabrina De La Hoz, Julio Diaz
written by Jayro Bustamante & Lisandro Sánchez
directed by Jayro Bustamante

by Walter Chaw In a film comprising indelible compositions, one in particular stands out in Jayro Bustamante’s doom-laden La Llorona. It’s not a supernatural tableau, although the film is thick with them, nor is it one from a devastating war-crimes trial where an old Guatemalan general, Enrique Monteverde (Julio Diaz), stands accused of unspeakable atrocities visited upon Mayan women during a horrific, early-’80s pogrom against them. No, the moment that lingers for me is a brief one where a new maid in the General’s household, Alma (María Mercedes Coroy), kneels beside a giant backyard pool and fishes protest flyers out of the water as a frog swims laconically past. The sequence itself captures the mild surreality of a picture set against a sociopolitical reckoning with an ugly period in Guatemala’s history. The General and his family rattle around in a mansion, surrounded by tokens of their affluence. Our first night with them, long-suffering wife Carmen (Margarita Kénefic) is mistaken for a ghost and shot at by the great man, and their daughter Natalia (Sabrina De La Hoz), a doctor only now coming to learn of the crimes of which her father’s accused, also discovers that his facilities are, perhaps greatly, diminished.

Sundance ’20: Be Water

January 25, 2020Posted in2020, Authors: Walter Chaw, Documentary, Film Festivals, Martial Arts, Sundance

Sundance20bewater

*/****
directed by Bao Nguyen

by Walter Chaw Bao Nguyen’s Bruce Lee documentary Be Water is a moving hagiography of a legend immortalized by his sudden death at the beginning of his career. He reminds of James Dean in that respect, captured in amber as this eternally young punk icon for the disenfranchised, the alienated, the frustrated. He was a point of pride for Asian-Americans and became a peculiar rallying point for African-Americans, too. The pressure for me to write favourably about this film is crippling and depressing. It occurred to me not to review it at all. Bruce Lee’s legacy is complicated. He was someone I lionized when I was a kid. Slight, wiry, he looked like me when I was little. That he could become something so huge in my imagination was to me extraordinary. If he, with his heavy accent and ferociously Chinese demeanour, could refuse to assimilate and yet rise, maybe this country meant what it said. You know what, though? It doesn’t mean what it says.

Sundance ’20: Aggie

January 25, 2020Posted in2020, Authors: Walter Chaw, Documentary, Film Festivals, Sundance

Sundance20aggie

**/****
directed by Catherine Gund

by Walter Chaw Agnes Gund is a fantastic person, a philanthropist art collector who sits as President Emirita for the Museum of Modern Art. She champions artists while they’re living, visits them in their studios to better understand the hands that move the creations, and recently sold a famous Roy Lichtenstein original (“Masterpiece”) for an ungodly sum of $162 million, which she used to create a foundation called “Art for Justice” dedicated to penal reform, with the ultimate aim of eradicating mass incarceration. She’s been called the “last good rich person” by the NEW YORK TIMES and it’s hard to argue, though the bar is admittedly low. The temptation is to launch into a long screed on the moral abomination of allowing such a thing as a billionaire to exist in the first place, just one of the many digressions that daughter Catherine’s able, functional documentary Aggie inspires. There are moments in this film where Gund, now in her eighties, needs to be cajoled into speaking (they’re played off as more of her humility), intercut with archival footage of a younger Gund demonstrating a more able public persona. She’s slowed down considerably, and I wondered a time or two if she has someone to manage her estate. I worry about her, but the film does not.

Sundance ’20: Black Bear

January 24, 2020Posted in2020, Authors: Walter Chaw, Drama, Film Festivals, Sundance

Sundance20blackbear

**/****
starring Aubrey Plaza, Christopher Abbott, Sarah Gadon, Paola Lázaro
written and directed by Lawrence Michael Levine

by Walter Chaw Hyphenate Lawrence Michael Levine (Uncle Kent 2) ventures into Darren Aronofsky territory with his insular, solipsistic Black Bear–the kind of movie that actually deploys “solipsistic” as a word to develop its two female leads: one uses it, the other pretends not to know what it means. It’s a game that sophisticates play with one another, I guess, and Black Bear, split into two loosely-related halves, is also a game sophisticates are playing with one another, or at least with themselves. In the first segment, co-producer Aubrey Plaza is Allison, a movie director renting a room in a cabin in the woods from a bickering couple, Gabe (Christopher Abbott) and Blair (Sarah Gadon). Blair is pregnant, Gabe is insufferable, and the two of them spend a lot of time arguing about whether or not women had it better in the 17th century, when they were the property of men. (It’s one of those arguments Jordan Peterson makes because Jordan Peterson is an incredible asshole.) So they fight, and Allison is caught in the middle. They also bicker about whether or not Blair should be drinking wine while she’s pregnant, and then Blair goes completely apeshit and says that Allison’s pussy probably smells like “spider shit.” It might be an improvisation, which is really something if it is–and really something if it isn’t.

Sundance ’20: The Painter and the Thief

January 23, 2020Posted in****/****, 2020, Authors: Walter Chaw, Documentary, Film Festivals, Norway, Sundance

Sundance20painterandthief

****/****
directed by Benjamin Ree

by Walter Chaw Shot over the course of three years, Benjamin Ree’s documentary The Painter and the Thief details the relationship that blooms between artist Barbora Kysilkova and a man, Karl-Bertil Nordland, who stole two of her paintings from a gallery. That’s it. You should see this movie and then come back here because I want to talk about it with someone–but you should see it first. Okay. You back?

Beverly Hills Cop (1984) + Beverly Hills Cop: 3 Movie Collection – Blu-ray Discs

January 21, 2020Posted in1980s, 1990s, 2011, 2020, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Comedy, Crime, Directors: Tony Scott, Eddie Murphy, Thriller

Please note that all framegrabs are from the “Beverly Hills Cop: 3 Movie Collection”

BEVERLY HILLS COP (1984)
**/****
2011 BD – Image B+ Sound C+ Extras A
2020 BD – Image A Sound C+ Extras A
starring Eddie Murphy, Judge Reinhold, John Ashton, Lisa Eilbacher
screenplay by Daniel Petrie Jr.
directed by Martin Brest

by Walter Chaw I used to watch Beverly Hills Cop about once a week in regular rotation with other movies I bootlegged during those first delirious go-rounds with the VCR-connected-to-rented-VCR carousel. It was on an extended-play tape with two other movies (Desert Hearts was one of the others, Re-Animator the third; quite the triple-feature!); back then, quantity beat the ever-loving shit out of quality. (Bless Paramount, by the way, for always being too cheap to encode their VHS tapes with Macrovision.) For me, Beverly Hills Cop was, like its contemporary Ghost Busters, the ne plus ultra of comedy–my eleven-year-old self still a couple of years away from Monty Python–and the requisite throwaway scene in a strip club was enough to be the centrefold in this analog PLAYBOY that, huzzah, I didn’t have to hide between the mattress and bedspring. The picture had, truth be told, everything a pre-pubescent boy could want in terms of violence (but not freaky violence), sex (but not freaky sex), nobility (the easy-to-understand kind), and plotting (ditto). The hero was an African-American man I’d never seen on SNL (which was on too late for me to catch) and had likewise never seen in 48Hrs.. He was small and not particularly powerful, but he was lithe and had a quick wit and compelling improvisational skills, and he ably parlayed his minority status in a few scenes that aren’t the slightest bit threatening. Eddie Murphy’s Axel Foley is, in fact, not entirely unlike cultural brother E.T.–the outsider hero with special abilities who, mission accomplished, can slink off to wherever it is he came from.

Bad Boys for Life (2020)

January 18, 2020Posted in2020, Action, Authors: Walter Chaw, Comedy, Crime, Mexico, Theatrical, Thriller, Will Smith

Badboysforlife

***/****
starring Will Smith, Martin Lawrence, Vanessa Hudgens, Joe Pantoliano
screenplay by Chris Bremner and Peter Craig and Joe Carnahan
directed by Adil El Arbi & Bilall Fallah

by Walter Chaw Rumors of Will Smith’s death were greatly exaggerated as, in reprising one of his most vile characters, he finds in this third Bad Boys flick the pathos-leavened vitality that had been missing since his last third instalment, 2012’s Men In Black 3. Between: a string of bathetic misfires of varying levels of foul, wherein the once and future superstar struggled to regain his stride. Truly, only a Will Smith could survive a concentrated period such as his last eight years of genuine calamities like Winter’s Tale, Suicide Squad, Collateral Beauty, and Max Landis. Here, again, the irrepressible charisma that made him a bona fide A-list action hero long about Independence Day (if not the first Bad Boys the year before) busts off the screen like a physical thing. It’s a ballsy choice, then, that the directing team of Adil El Arbi and Bilall Fallah (Black) choose to sideline him for a while immediately after a bombastic opening car-chase sequence. Even that’s a fake-out, as our rogue cops Marcus (Martin Lawrence) and Mike (Smith) are just rushing to Marcus’s daughter’s side as she gives birth to Marcus’s grandson. Everyone’s growing older. Bad Boys for Life gets that.

Dolittle (2020)

January 15, 2020Posted in2020, Adventure, Authors: Walter Chaw, Comedy, Family, Fantasy, Theatrical

Dolittle

**/****
starring Robert Downey Jr., Antonio Banderas, Michael Sheen, Jim Broadbent
screenplay by Stephen Gaghan and John Whittington, based on the novels by Hugh Lofting
directed by Stephen Gaghan

by Walter Chaw My memory of it is a little hazy now, but it’s worried my mind in the decades since I first read it, “it” being a scene from Dan Simmons’s Carrion Comfort where Holocaust prisoners are forced to be the chess pieces in a giant game, with the losing “pieces” summarily executed. Not ten minutes in, Steven Gaghan’s Dolittle, the second reboot of the legendarily disastrous (but also Oscar-nominated) Doctor Dolittle, features a sequence where Dolittle (Robert Downey Jr.) and cowardly gorilla Chee Chee (voiced by Rami Malek) play a game of chess with mice as the pieces. One strikes another with a tiny sceptre. It’s played for laughs, but I wasn’t laughing; I have questions. One of them concerns young Tommy’s accidental, near-mortal wounding of a squirrel (voiced by Craig Robinson) who suffers from PTSD in a vaguely terrifying flash-montage upon waking from surgery, and vows revenge. Another concerns how Dolittle, who’s been secreted away in his overgrown manse for years and years after the unfortunate death of his also-telepathic wife (not unlike another Dan Simmons novel, The Hollow Man), somehow has a very young lion cub in his care. Where does a hermit who never leaves his house get a baby lion? Wait, I figured it out: Shut up, you joyless old fuck, this isn’t for you, it’s for dim children and the parents needing a break from them.

Gemini Man (2019) – 4K Ultra HD + Blu-ray + Digital

January 14, 2020Posted in2019, 2020, 4K Ultra HD, Action, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Drama, Sci-Fi, Thriller, Will Smith

Gemini20Please note that all framegrabs are from the 1080p version

**/**** Image A Sound A Extras B-
starring Will Smith, Mary Elizabeth Winstead, Clive Owen, Benedict Wong
screenplay by David Benioff and Billy Ray and Darren Lemke
directed by Ang Lee

by Walter Chaw Many stories are like this, about how heroes reach an age where a younger doppelgänger shows up on the scene to establish their reputation at the expense of the old Alpha. As hairless primates fond of the Oedipus story, we’re attracted to this tale of the son becoming the father. When a phantom Marlon Brando frames Superman Returns thusly in that film’s prologue, it’s stated so magisterially it rings with the heft of cathedral bells. What Ang Lee’s Gemini Man presupposes is: what if the young gunslinger looking to make his mark is a literal clone of the old gunslinger? It’s kind of an intriguing idea, if you think that cloning someone from DNA and a surrogate uterus will result in shared skills and memories–like those stories about identical twins marrying women with the same name and knowing when the other is in danger or some shit. It’s considerably less intriguing when its premise relies on this but, knowing that’s stupid, then tries to shoehorn in a ton of exposition and backstory to explain what should probably have been left unexplained. At the mid-point of Gemini Man, when what millions of dollars of advertising have already spoiled needs to be explained, it’s poor spook Danny (Mary Elizabeth Winstead) left to mouth the “you just need an egg!” explanation. Better if said explanation were that they’d figured out some way to clone someone and then implant the training. Oh, never mind.

A Long Time Ago in a Cutting Room Far, Far Away…. – Books

January 12, 2020Posted in2019, 2020, Authors: Bill Chambers, Books About Movies
1-1

A Long Time Ago in a Cutting Room Far, Far Away: My Fifty Years Editing Hollywood Hits―Star Wars, Carrie, Ferris Bueller’s Day Off, Mission: Impossible, and More
FFC rating: 8/10
by Paul Hirsch

by Bill Chambers “You know what’s a great cut?” I said to the editor of my student film–or he said to me, I can’t remember now. Conversations frequently began this way in our cluttered editing room, a glorified broom closet we’d decorated with, among other things, a life-size cardboard cutout of Mr. Spock and the poster for Sam Peckinpah’s Cross of Iron. Anyway, the answer to that rhetorical question was the opening of Casualties of War: a stark cut from black to a shot inside a subway car, where Michael J. Fox, the movie’s star, is Where’s Waldo?-ed amongst the passengers. The other person enthusiastically concurred; it was an incredible bonding moment between us, realizing we’d each recognized the power of this relatively obscure and deceptively simple moment. Since Paul Hirsch had edited so many Brian De Palma films, including his then-recent Mission: Impossible, we assumed it was his handiwork. (Smart-phone technology for checking these things instantly did not yet exist.) A different De Palma veteran, Bill Pankow, cut Casualties of War, as it turned out, but our misapprehension sparked a discussion of the legitimate work of Paul Hirsch, who soon became the patron saint of Casa Spock. Hirsch had edited the kinds of films us Gen-X cinephiles internalized like radio hits, and even though we were cutting a dopey little student film, we aspired to his rhythmic grace, which remains somewhat overshadowed by sheer popularity when it comes to his biggest credits (Star Wars, Footloose, Planes, Trains & Automobiles).