Wednesday, September 3, 2014
In “Suspicion,” Joan Fontaine (in the only Oscar winning role in a Hitchcock film) plays “Lina,” a shy spinster who falls for “Johnny,” a charming playboy (Grant) and gradually learns he is a penniless gambler, using her family fortune to fund his habit. She believes he is planning to murder her to collect a life insurance policy. Yes, Lina could be suspicious of Johnny because he keeps stealing her money, but really, shouldn’t she be suspicious simply because he is expressing interest in her -- and she is a complete wet blanket? Lina is the friend who, when you’re packing a cooler, uses up all the room with fruits and vegetables ("I just want to make sure we have some healthy choices.") Thirty minutes into this, I'd kill Lina for free, Oscar notwithstanding.
The reason RKO showed about as much savvy as Lina going on a picnic is because Cary Grant is exceptionally watchable in this because it is such a different role for him. Grant, whose long, distinguished career featured role after role playing Cary Grant, should have played more murderers. Or at least problem gamblers, or whatever. Nigel Bruce plays Beaky, the dopey but lovable best friend, who is allergic to brandy. What, does that seem too trivial to mention? You'd think, but hoo-boy, when that groundwork is laid it’s about as subtle as a Hitchcock cameo (which, by the way, happens at a mailbox).
The ending that Hitchcock wanted would have been better and made a hell of a lot more sense. Based on his famous 1967 interviews with François Truffaut, Hitchcock seems to have gone to his grave feeling like he caved in to the studio on the whole thing. However, as a melodrama, "Suspicion" works because the acting is directed well, not because of the plot. The regret was Hitchcock’s to carry, not ours. Fuck RKO, but still...recommended, even with the shitty ending.
Tuesday, September 2, 2014
I saw this because Reese Witherspoon is in it, although another alternate title for this move is "Decreased Witherspoon," because there isn't enough of her in it. She's not even really my type, but I can't help it. There's something about her weird chin that makes her look a bit like a marionette, but the best looking marionette ever. Still, most of the time here is used up by two people named Chris Pine and Tom Hardy, whom it would seem were being positioned as movie stars when this was made.
The plot here seems to involve a lot of people trying to support Chelsea Handler as she improvises all her dialogue. Or it might be about something else, I’m not sure. It's challenging enough when an action comedy attempts to combine those two initial elements -- adding romance to that mix isn’t just ambitious -- it's foolhardy.
For suckers only.
Thursday, August 28, 2014
The fundamental flaw with “The Funhouse” is laziness. There’s a huge difference between a funhouse and a haunted house and this movie doesn’t distinguish between the two. Features of a funhouse might include a maze of mirrors, a rolling barrel you walk through, staircases that move, a crooked room -- this sort of foolishness. Features seen in the funhouse in “The Funhouse” include: gruesome monsters hacking at people with knives, your friends hung from a noose.
But I don’t just mean these are the fates that befall the characters in the movie. You see this sort of stuff when the funhouse is supposed to just be “fun.” Kids go to this carnival, they “step right up,” and then ride around in a dumpy little cart through a roll-away trailer full of this haunted house garbage. But when four friends decide to spend the night in the funhouse, Amy (Elizabeth Berridge, "Amadeus"), Buzz (Cooper Huckabee, "Django Unchained"), Richie (Miles Chapin, "The People vs. Larry Flynt") and Liz (Largo Woodruff, "The Funhouse") get much more than they bargained for! Horror! If you follow!
The kids accidentally discover that one of the carnies has a son who is a mutant sex maniac that killed the hooker who made fun of his penis (I know, I said enough at "one of the carnies has a son," right?). So now the crazy carnie wants to grind up the teenagers in the gears that run the funhouse -- so it’s pretty much like every "Scooby Doo" you've ever seen.
Recommended, if you, like me, first saw this in 1982 at the Bedford Grove Drive-In, in Bedford, New Hampshire as the second feature with “Cat People” and are curious to see how much of it you remember. Otherwise, I’m not sure I’d bother. Instead you could go back to director Tobe Hooper’s 1974 classic, “The Texas Chainsaw Massacre,” which truly is a masterpiece of sick, awful horror. I mean, unless that’s not your thing. Then, for heaven’s sake, why would you do that to yourself?
Tuesday, August 26, 2014
Of these films, "Lifeboat" might have been the simplest in scope visually, but the screenplay by Jo Swerling ("It's a Wonderful Life") -- based on a story by John Steinbeck (who hated the movie) -- is exceptional. During World War II, a merchant marine ship and German U-boat sink each other in the Atlantic. Allied servicemen and civilians in a lifeboat pull a survivor from the drink and realize he is a German. They argue whether to throw him back and now we've got a movie.
The non-Germans on the boat provide all the various voices of reason and emotion relevant to war and ethnicity and so on. Tallulah Bankhead plays a cross between Rosalind Russell's character in "His Girl Friday" (1940) and Tallulah Bankhead. William Bendix plays Gus, a guy who eventually could form a support group with James Franco's character in "127 Hours." If you get my drift.
Surprisingly, "Lifeboat" was poorly received because the German in the story, Willi (Walter Slezak), was said to have been portrayed too positively. This criticism is just plain wrong because otherwise the film would have no third act. Once Willi's motives are less ambiguous to everybody on the boat, their conundrum is less about about trust, and far more about whether to have compassion toward another human being in the face of self-preservation. In fact, the final moment of the film is a statement that implies the moral inferiority of Germans -- or at the very least, "people like that." Recommended!
Thursday, August 21, 2014
Damn, that sonofabitch can paint. This film is about revealing the trick used by Johannes Vermeer to paint photo-realistic images. But by demystifying Vermeer's process, the film doesn't devalue his work, it makes it more fascinating. It contributes to its respectability. You like it more. When you see how it was done, you certainly don't think anybody cheated.
Teller, the film's director, is the magician who achieved fame standing on stage next to Penn Jillette, revealing the secrets behind classic magic tricks. Yet Penn and Teller's act endures because they consistently demonstrate that the power of great magic has little to do with how the trick is done. Even if you know the secret, a good magic trick will blow your mind.
Below is the magic trick version of "Tim's Vermeer." Be sure to watch through to the end:
Wednesday, August 20, 2014
"Fear" is about the Walker family, who, like most American families during the '90s, live in Seattle. Also common to most American families during the '90s, the Walkers are trying to bond following years of dysfunction and estrangement. Nicole Walker, now 16 years old and beautiful, is sweet and pure but feels as confined and sexually curious as anybody her age (Witherspoon was 21). When she meets David (Mark Wahlberg), who is devilishly charming, she's putty in his hands.
This is why, Nicole's dad, Steve Walker (William Peterson ) is arguably the main character in "Fear." Wahlberg's nutty character is far more interested in Nicole's sexuality as a way to unravel her father's paternal masculinity. Director Foley ("Glengarry Glen Ross") makes sure Wahlberg's rage is driven by his character's own daddy issues, not Nicole's daddy -- and certainly not their budding romance, creating all kinds of mad, stalker weirdness.
Tuesday, August 19, 2014
This brutality was directed by Lucky McKee, whose IMDB bio reads, "raised in the small riverbank town of Jenny Lind in Calaveras County, California, Edward Lucky McKee grew up mostly in poverty with little access to modern forms of entertainment." It would have been kind to at least bring Edward to a movie before letting him make one.
During the final half-hour of this film it is very, very important to all of the characters that they achieve something, or obtain something, or get rid of it -- I think -- in order to make everything normal again. This ordeal involves a lot of flashing lights, heads exploding, blood everywhere -- and people trying to move rocks to different places. They're very passionate about the rocks. It made me wish I could find some enthusiasm for it all too.