Running on Empty

A couple (Judd Hirsch and Christine Lahti) once involved in the bombing of a government weapon's facility remain political fugitives from justice with their two sons in tow. As the elder of the boys (River Phoenix) approaches adulthood, he seeks to break free from their nomadic, surreptitious lifestyle and strike out a normal life of his own. Sidney Lumet's Running on Empty is an assuredly made and somewhat fantastical film with Hirsch and Martha Plimpton incredibly irritating in key roles, Lahti offering a few glimmering moments, and Phoenix phenomenal in a standout performance, with the film working best when the story focuses on him.

*** out of ****

The Conversation

Harry Caul (Gene Hackman) is the preeminent West Coast wiretapper bar none, with not a San Francisco verbal exchange privileged thanks to his state of the art gadgetry and brilliant methods. His personal life, however, is a lonely, unguarded, and vulnerable state of paranoia. When he is hired to surveil a young couple by the chairman of a powerful corporation, he finds himself entwined in an obscure murder plot and his private life begins to unravel as his conscience gradually gets the better of him. A somewhat diminished thread in an unprecedented string of classic films of the 1970s, Francis Ford Coppola's The Conversation is a tense, intelligent thriller that takes its time while functioning as a character study, all leading to a haunting resounding payoff, with Hackman unforgettable in a career defining performance.  

**** out of ****

The Complete Works of Jean Vigo

Jean Vigo was a surrealist French director whose life was cut short by tuberculosis at 29, but whose limited body of work (consisting of only four films, one of which was feature length) not only provided a window of what could have been and served as a major influence for the future of world cinema, but stands quite sturdily, in their own offbeat and lightly poetic way. His debut film was A Propos de Nice, a fascinating documentary covering all walks of life in Nice and was probably inspired by the landmark Man with a Movie Camera. It was followed by Taris, a brilliant and innovative instructional film featuring the eponymous swim champion, which was succeeded by Zero for Conduct, a whimsical tale detailing a boarding school rebellion. L'Atalante, his final and most cited and cherished work, tells a breezy and aimless story about newlyweds travelling upriver with a gruff riverboat captain, and features amusing situations, likable performances, and some great cinematography.

Barcelona

A supercilious American (Taylor Nichols) working for a Chicago sales firm in the title locale finds his life disrupted by an uncouth cousin (Chris Eigeman), a sailor on an overseas assignment. Like all of Whit Stillman's films, Barcelona is talky, intelligent, funny, haughty, and occasionally too light. As in Metropolitan and The Last Days of Disco, Eigeman is a particular standout in a talented cast, which here also includes Mira Sorvino and Tushka Bergen who play romantic conquests of the two male leads.

*** out of ****

Persona

A nurse (Bibi Andersson) is assigned to care for an actress (Liv Ullmann)  who suffered a breakdown and has ceased speaking entirely. The two women retreat to a seaside cottage in hopes the tranquil settings will help in the form of therapy and quickly form a powerful bond and find their personages beginning to fuse together. Ingmar Bergman's is challenging, quintessential art house fare that I'd be damned to offer any meaningful analysis on. It is dark, beautiful, hypnotic, haunting, and cryptic, filled with jarring imagery and containing excellent performances from its female leads.

*** 1/2 out of ****

The Bank Dick

When no account lush Egbert Souse (W.C. Fields) unwittingly stops a robber dead in his tracks, he becomes a local hero, and the would be victimized bank offers him a full time gig as security guard. Soon he is involved in a shady land deal involving ill-gotten bank funds, directing his own movie, and all sorts of other drunken shenanigans. The Bank Dick is an uproarious clamor of jokes, one-liners, outrageous situational comedy, and perfectly timed pratfalls, all with the inimitable Fields at the helm and backed-up by a wonderfully cast team of supporters.

*** 1/2 out of ****

Alfie

Alfie Elkins is a Cockneyed cad and a self-styled womanizer who cares nothing for the young women with whom he engages his nightly dalliances. When his lifestyle begins to catch up with him, in the form of poor health, a newborn son, and the arrangement of an abortion for the wife of a close friend, he starts to make strides at emotional maturity. Alfie is something of an astoundment: a sex comedy that doesn't insult its audience's intelligence and lets them use their imagination. Lewis Gilbert's treatment of Bill Naughton's scripting of his own play would surely have failed in other hands but Michael Caine, in his first starring role, makes it funny, compelling, and moving and even succeeds in breaking the fourth wall.
*** 1/2 out of ****

Ran

An aged, powerful warrior in feudal Japan plans to retire and divide his kingdom equally among his three sons. When the youngest of the three questions his proposal, he finds himself banished and his doubts soon proving prophetic as a rift develops between the two elder siblings who prepare for battle and witness the toppling of the vast kingdom their father strived so hard to secure. Made in his mid-70s, legendary master Akira Kurosawa's Ran is an epic, full-blooded, dynamic take on King Lear filled with fantastic cinematography, incredible battle sequences, and gripping subplots. Tatsuya Nakadi is mesmerizing as the old warlord.

*** 1/2 out of ****

Beat the Devil

A disparate band of villains, swindlers and thieves travels from Italy to Africa in search of uranium mines as part of a get rich quick scheme but only find mischief and international intrigue. John Huston's Beat the Devil, supposedly written on the fly by Truman Capote, is a not so serious B-picture containing a few hearty chuckles, a memorable cast (including Humphrey Bogart, Jennifer Jones, and Peter Lorre), and a hilarious denouement in the form of an interrogation.

*** out of ****

Downhill Racer

A cold, insensitive, self-minded skier (Robert Redford) travels to Switzerland and joins the American squad and their hard-edged coach (Gene Hackman) as an injury replacement. Soon, through skill and dubious, unscrupulous methods, he glides his way to Olympic glory. Michael Ritchie's Downhill Racer is a relevant as ever treatise on bloodthirsty competition which strives for verite like realism (I liked how Hackman would flub a word or two during a heated argument or a hand would graze the camera lens during a crash sequence) but keeps its story in the background somewhat. Redford's role is a significant departure for his typically moralistic leading roles and his character's quiet, unabashed narcissism is quite jolting. Hackman is excellent is a supporting role and the film also boasts incredible photography and ski sequences which literally caused my heart to skip a beat during every wipeout.

*** 1/2 out of ****

The Right Stuff

The walls of a watering hole at a Californian airbase that attracts the nation's best test pilots are adorned with the photos of the men who lost their lives seeking glory in the sky. Visiting the bar are government men seeking airmen to break the sound barrier, although their offers are roundly rejected, being too low for such a hazardous proposition. Taking them up is the stoic war hero Chuck Yeager (Sam Shepard) who sets the record in dazzling fashion but finds himself left in the dust when, in an effort to keep up with the Russians, the U.S. seeks out flyboys with the titular panache to lead the Mercury program as the country's first astronauts. Adapted for the screen by Philip Kaufman from Tom Wolfe's nonfiction novel, The Right Stuff is perhaps one of the funnest (and funniest) epics ever conceived. With the incredible contrast between Shepard's foreboding, almost mystical desert scenes, the jaunty antics of the training and publicity sequences of the Mercury crew, and the harrowing flight scenes, it is a supreme form of storytelling consisting of countless memorable scenes (my favorite being the incredibly moving standoff between LBJ and Mrs. John Glenn). Shepherd stands at the film's center in an assured, unforgettable performance and those comprising the Mercury squad, including Ed Harris as John Glenn, and Dennis Quaid and Fred Ward in particularly funny roles, are also tremendous.

**** out of ****

Long Day's Journey Into Night

The dysfunctional Tyrone family, consisting of a penny pinching, alcoholic father (Ralph Richardson), a morphine addicted, unstable mother (Katharine Hepburn), an angry, bitter, and also alcoholic older brother (Jason Robards), and a fragile, tubercular younger brother (Dean Stockwell), gather for a summer afternoon at their Connecticut ocean home as festering resentments and blame come swelling to the service. Eugene O'Neill's autobiographical play is both challenging and somewhat redundant but is opened up for the screen quite well by Sidney Lumet who gives it a thorough and unabridged treatment and presents a cast that is roundly excellent.

*** 1/2 out of ****

Network

When longstanding TV news anchor Howard Beale (Peter Finch) learns from his producer/best friend (William Holden) that he will be replaced at his post due to sagging ratings, he announces on live television that he will commit suicide during an upcoming broadcast and goes on a tirade on the state of the industry and the state of affairs in general. With ratings at an all-time high, the studio turns the crisis into an opportunity and seeks to promote "The Mad Prophet of the Airwaves." Sidney Lumet's masterful indictment of both the morally bankrupt and boundless television news industry and the audiences who soak it up is an illustrious production firing on all cylinders beginning with a brilliant, caustic, satirical, and shockingly prescient (as most viewers will point out) Paddy Chayefsky screenplay. The story centers around Finch's mad, showy, dazzling, Oscar winning performance but Holden's worn and weary news producer captures the heart of the film. Additionally, Faye Dunaway (also an Oscar winner) as the soulless, ladder climbing executive, Robert Duvall as the ruthless axeman, the jilted, sobering Beatrice Straight (who took home yet another acting trophy), and Ned Beatty as the bizarre, evangelistic corporate chairman round out the uniformly excellent cast.

**** out of ****

The Discreet Charm of the Bourgeoisie

Luis Bunuel's The Discreet Charm of the Bourgeoisie is a baffling and dreamlike film (with a plot that defies explanation) in which, like the equally inscrutable The Exterminating Angel, the act of dining figures prominently and proves problematic for a group of upper crusters. Despite its nature, the film never ceases to be involving (maybe partially due to its incomprehensibility) and features exquisite photography by Edmond Richmond.
*** out of ****

Duck Soup

Rufus T. Firefly (Groucho Marx) is named supreme leader over the fictional land of Freedonia at the behest of heiress Mrs. Teasdale (Margaret Dumont) over whose honor he declares war on adjoining Sylvania. In the meantime, the head of this rival nation has hired two bumbling spies (Chico and Harpo Marx) to keep tabs on their enemy's new leader. The Marx Brothers' classic melange is not so much a movie as a nonstop assault of gags, one-liners, one-upsmanship, and putdowns. In short, hilarious irreverence. Directed by Leo McCrarey, best known for more say respectable fare (Going My Way, An Affair to Remember), it features memorable sequence after memorable sequence (the mirror gag seemingly stands out for most) with each brother in top form.

**** out of ****

Romeo and Juliet

Shakespeare's enduring tragic tale of two star-crossed lovers from rival families in fair Verona is given grand treatment in this sumptuous adaptation by Franco Zeffirelli who casts like aged teens Leonard Whiting and Olivia Hussey, who are surprisingly appealing and quite excellent, and matched by resplendent, Oscar winning cinematography by Pasqualino De Santis and a lovely Nino Rota score. Also, the courtyard scene is unforgettable.

*** 1/2 out of ****

Deathtrap

A once great playwright (Michael Caine) is nursing his latest Broadway flop when he receives a script in the mail from an admirer and aspiring writer (Christopher Reeve) who hopes his idol will have the time to glance it over. In a flash of diabolical inspiration, he invites his devotee over in a plot to knock him off and present his play as his own. Working with screenwriter Jay Presson Allen, Sidney Lumet's adaptation of Ira Levin's twisty, popular stage production opens up well (perhaps too well) on the screen with a delicious first act followed by a belabored second. Caine, Reeve, and Dyan Cannon are all on point.

** 1/2 out of ****

2015 Oscar Afterthoughts

In recent years it has become almost standard that Oscar will play it safe and this year Neil Patrick Harris proved no exception as host with his toothless, stale humor and uninspired opening musical act (only given life by a huge assist from Jack Black (the ones you want to host the show never do)) aimed at a likewise colorless generation who somehow find this smarmy twerp to be one of the industry's grandest entertainers. Otherwise, the rest of the production offered very few laughs (I did appreciate NPH's Birdman spoof) and unfortunately consisted mostly of musical performances, with the crowd's reaction to John Legend and Common's Selma number being a nauseating low point of the evening, and the odd and overlong Lady Gaga Sound of Music rendering only redeemed by the appearance of Julie Andrews. As per the awards, there were few surprises, excepting a few major ones which unfortunately favored the overlauded and self-important Birdman. J.K. Simmons, in a deserving win for Best Supporting Actor, had the speech of the night: succinct, funny, and tender though not cloying. Patricia Arquette, another meritorious supporting winner, offered the worst speech who for some reason chose the occasion to use the Oscar podium as a platform for equal wages for women, as she dispassionately read her lecture from notecards. Julianne Moore won an overdue Oscar for an unworthy role and Eddie Redmayne, the least deserving contestant in his field, took home the trophy because he was the only nominee who played a physically handicapped person. I had issues with every Oscar Birdman, the big winner of the night, took home starting with the Cinematography trophy for back to back recipient Emmanuel Lubezki. The simulated continual tracking shot seems more like an editing feat (a category in which it wasn't even nominated) and the rest of the bland photography pales in comparison to like nominated films such as Mr. Turner, Ida, and The Grand Budapest Hotel. Lastly, the greatest disappointment of the evening had to be the favorite Boyhood losing steam as it reached the finish line. Though the Academy voted differently, down the line I believe Richard Linklater's 12 year labor of love will be looked back upon as the finest achievement of 2014.

The French Connection

During a routine drug bust, NYPD narcotics officers Popeye Doyle (Gene Hackman) and Buddy Russo (Roy Scheider) learn that 32 million dollars worth of heroin has been smuggled over from France and begin the laborious, frustrating, and deadly search for the shipment and its source. Whether its a barroom bust-up, a sleepy stakeout, or the ultimate elevated train chase sequence, William Friedkin's gritty, exciting, and quintessential action picture elevates itself above the rest mainly due to the way it treats its audience like adults and not feeble minded idiots. Hackman provides a tough, uncompromising, unlikable, and atypical leading man and Scheider is equally compelling as his partner.
**** out of ****

Shane

A disentranced gunfighter ambles into the Wyoming homestead of a floundering rancher and his wife in the hopes of starting a new life, and is immediately idolized by the couple's young child. Though eventually trusted by the family and desperately heeding to their advice to avoid the ever beckoning calls of his past life, fate draws him into a showdown with the ruthless cattle baron who has been preying upon his new keepers' land. George Stevens' classic Western standard, from the book by Jack Schaefer, is a perfectly satisfying (and realized) example of hokey Americana. Loyal Griggs' awe inspiring cinematography dominates the proceedings and each and every player, including Alan Ladd as the weary gunslinger, Brandon de Wilde as his young devotee, Van Heflin playing the struggling rancher, Jean Arthur his wife, Ben Johnson as a despicable thug, and Jack Palance as the vile black hat, are cast and play their roles to a T.
**** out of ****

Raiders of the Lost Ark

After having his latest quest foiled by a rival and making a daring escape from Peru, archaeologist Henry "Indiana" Jones (Harrison Ford) returns to his teaching post where government officials apprise him that the Nazis are seeking out one of his former colleagues. From there, Jones embarks on a perilous, continent spanning expedition after realizing the vile dogs are in search of the Ark of the Covenant, which they believe will make their armies indestructible. Revisiting Raiders of the Lost Ark, I was surprised to find it a great deal cheesier than I remembered a kid when it always struck me as grown up (in a good way). Spielberg's classic action/adventure nod to Saturday Morning serials is brazenly mounted, occasionally over the top, but impeccably carried out, and still a whole lotta fun. The film is well cast and although Ford and Karen Allen leave little to be desired in the acting department, both hold tremendous appeal.
*** 1/2 out of ****

The Last Days of Disco

In the early 1980s, two roommates (Chloe Sevigny and Kate Beckinsale) working as junior editors for a publishing firm nightly populate the swinging and decadent clubs during disco's final days. Like other films by White Stillman, even though his characters are upper class snobs with whom most viewers share little in common and are often off putting to boot, I regardlessly loved listening to the intelligent and unusual way they spoke and ultimately identified with certain aspects of their personalities. Sevigny and Stillman regular Chris Eigeman turn in fine performances, and the film's conclusion is memorable.

*** out of ****

The Apostle

When a colorful, successful, and well-liked Texas preacher (Robert Duvall) learns of his wife's extracurricular behavior, he makes an impassioned, violent choice and heads for a small Louisianan community where he starts his life and ministry anew. The Apostle was a years in the making passion project for Duvall, who contributes a showy, self-indulgent performance in a simple, well-meaning, but overlong film which is given weight by its Southern flavor, cast members, and landscapes.

*** out of ****

The Last Laugh

The aging concierge of a luxurious Berlin hotel takes utter pride in his position. Soon, he is phased out by management and must face the personal humiliation and disdain from those around him. In a time when movies tell you everything a character is thinking and explain their every action, with The Last Laugh F.W. Murnau was able to convey a heartbreaking story without the use of sound and, aside from an introductory and epilogue card, no intertitles whatsoever. Emil Jannings' Doorman is an incredible creation and the film is filled with so many memorably framed sequences, including a knowingly anachronistic, not to say welcomed, jovial ending.

**** out of ****

The Seventh Seal

A world weary knight (Max von Sydow) making his way home from the Crusades happens upon Death and challenges him to a chess game with the hopes of preempting and preventing the inevitable. During the course of their game, the knight ruminates on the existence of God, his impending death, and the meaning of life. Ingmar Bergman's quintessential arthouse masterpiece is a brilliant and emotionally draining discourse on human nature, pristinely shot, and replete with stunning sequence after stunning sequence including a mercy killing preceding a burning at the stake, Death slowly creeping into the frame, a troubadour's fake demise followed by his actual one, and, of course, the haunting dance of death.
**** out of *****