Battleship Potemkin

In 1905 the crew members of the Russian battleship Potemkin were fed up with their maggot ridden meat rations and decided it was time to rise up against the officers of the ship. After overtaking their boat and pulling into Odessa, word of their rebellion spread and ignited the revolutionary spirit. Soon the Czar sent his troops to quell the uprising and many protesters and innocents alike were slaughtered. The revolution continued leading up to the Bolshevik uprising of 1917. Sergei Eisenstein's Battleship Potemkin has often been referred to as the greatest film ever made, and it is certainly one of the most electrically charged. From its kinetically edited scenes, which seem impossible to have been made for its time (I mean how many cameras did he have at his disposal in 1926 Russia?), we can see the seeds for the films of Alfred Hitchcock, Stanley Kubrick, Quentin Tarantino, and others. Filmed in beautiful black and white, its scenes of uprising are rousing and incredible. The Odessa staircase scene, where the baby carriage with baby in tow glides slowly down the stairs, is one of the most famous film sequences and rightly so. Battleship Potemkin is a superior film and during its editing process, Sergei Eisenstein must have surely invented some new techniques that would inspire generations of filmmakers to come.

Picnic at Hanging Rock

On Valentine's Day in the year 1900, girls from a boarding school go on an all day retreat to an area made of up of volcanic rock. After reciting poetry and laying about, four of the girls decide to climb the rock, seemingly drawn by an unspoken possession. One girl runs back, and the other three, along with a teacher whose disappearance is never explained, are never seen from again. The disappearances cause a media stir and have a devastating affect not only on the girl's college, its students, and cruel headmaster, but also on two young men who were present that unfortunate and mysterious day. Picnic at Hanging Rock was master Aussie director Peter Weir's first film to reach an international audience, and it is a lyrical and haunting film. Like fellow countryman and director Nicolas Roeg's Walkabout, it deals with teenagers dealing with their sexual longings while alone in the wilderness. Weir's film is successful because of its atmospheric tone and beautiful visuals, but also because it never provides answers, only suggestions as to what happened to the girls. Benefiting from the same strategy that aided Fargo, the movie presents itself as a true story, when it was really based on a book by Joan Lindsay which was only inspired by true events. Picnic at Hanging Rock is an eerie film made by a true director who knows that not all horror films must deal with blood, guts, and cheap scares.

Farewell

 In 1981, a French engineer living in Moscow begins a liaison with a disillusioned KGB agent who begins passing him secrets which can then be snuck out of Russia and passed along to French intelligence. Soon, it becomes clear that the secrets are in regards to American intelligence, specifically security locations and codes and the identity of Russian spies. The information is passed along to Reagan who has the agents subdued and uses the opportunity to pursue his Star Wars initiative, all of which as blowback on the engineer and rogue agent. Farewell, from the French director Christian Carion, is an intricately detailed spy thriller based on crucial real life events. Guillaume Canet and Emir Kusturica, as the engineer and the agent respectively, deliver fine performances and it is interesting to see Fred Ward play Ronald Reagan and William Dafoe as a high ranking CIA official. In a time when spy movies are associated with nonstop actioneers such as the Bourne or James Bond series, it is a pleasure to see a well made character driven film that takes its time and lets its story develop.

Sam Peckinpah: Man of Iron

Sam Peckinpah was a man consumed with violence and rage. His professional and private life were consumed with turmoil, and where their weren't issues he made them. Constantly at war with the studios, he fought to bring his vision to the movies, a vision where the true nature of violence was shown on the screen. His temper and his abuse of his body ultimately got the best of him and his friends and family still remembered him warmly, despite his many demons. Sam Peckinpah: Man of Iron is a documentary on the great and troubled director, which interviews friends, family, and collaborators, and tries to figure out what made him tick. We hear from such associates as James Coburn, Kris Kristofferson, Ali McGraw, L.Q. Jones, and Jason Robards, and gather what seems like an honest portrait of a brilliant and troubled man. The documentary is also fascinating in the way his filming methods discussed along with the readings from his personal journals. Sam Peckinpah's films such as The Wild Bunch and Straw Dogs, influenced countless violent films to follow made by directors who had not as much to say.

Straw Dogs

A pacifistic mathematician receives a research grant and leaves turmoil ridden America with his wife to live in the British countryside where she grew up. In their pastoral and seemingly peaceful village they receive increasingly alarming harassment from the locals which builds up into a situation where he must embrace the harsh violence he has so vehemently rejected. Straw Dogs is another take on the subject of violence by Sam Peckinpah, the director who was so consumed by it and determined to see its true nature presented on the screen. Dustin Hoffman delivers a stellar and totally identifiable performance as we watch his character's journey from cowardice to courageousness as he endures torment not only from the vicious townspeople but also from his tempestuous wife. The movie is thoroughly engaging and several segments grab hold of your attention like few films I seen. Some scenes do get out of hand, such as the extended rape scene, which shows Peckinpah's misogynistic side, and the final scene in which Hoffman defends his house, which although satisfying, is overly violent and counteracts the rest of the more subtle film. Straw Dogs is absorbing statement on violence containing a decisive performance from Dustin Hoffman which should speak to anyone who watches it.

The Doors

"We need a two and a half hour movie about The Doors? No we don't, I can sum it up for you in five seconds: I'm drunk, I'm nobody. I'm drunk, I'm famous. I'm drunk, I'm fuckin' dead!"

Denis Leary hit the nail on the head with the above quote about Oliver Stone's movie about Jim Morrison and The Doors. While Morrison was a talented poet and singer and The Doors had some hits and were a key band of the late 60s, Morrison was such an intensely unlikable figure and his life is not interesting enough to sustain a 140 minute movie. It begins with a childhood memory of Morrison regarding a dying Indian on the side of the road during a family road trip. Cut to Jim (Val Kilmer) in his early 20s where he wanders around Venice Beach and meets lifelong partner Pamela Courson (Meg Ryan). He attends UCLA film school where he makes nonlinear and dismissed films and meets future bandmate Ray Manzarek (Kyle MacLachlan). The two partner up with John Densmore (Kevin Dillon) and Robby Kreiger (Frank Whaley) and thus begins the rise of The Doors, which is actually just a gradual freefall as Jim engages in excessive drug use, sex, alcohol, witchcraft, indecent exposure, and an unhealthy fascination with death. Stone's film is extremely well made and vividly captures the aura of the 1960s. Kilmer, a Morrison lookalike to start, engulfs himself in the role and gives a mesmerizing performance, while MacLachlan and Ryan give fine performances as well as two of Morrison's long suffering partners. The film also makes great use of The Door's songs which play throughout. The problem with the film though starts with Morrison's polarizing effect and continues with Stone's attempt to drag the film out and stuff it with prolonged trippy sequences and unpleasantries. In the end, the film is kind of like Morrison himself, leaving us with some good, but ultimately bloated with excess.

The Hangover Part II

The Hangover Part II is a shameless exercise which exists for the sole purpose of capitalizing on the immensely successful original film. It takes the same actors and plugs the into the same plot where the exact same antics ensue. It is entirely similar to the first film, except that it is more raunchy and entirely devoid of freshness and laughs. It would have been slightly less offensive, and the studio would have saved some time and money,  if they released the original film with a '2' inserted after the title, which is basically what they did.

Trust

An insecure suburban 14 year old girl starts a relationship with a 16 year old boy in a chatroom who gradually reveals himself to be 20, then 25, and finally in his mid 30s when she agrees to meet him at the local mall. Preying on her weaknesses, he convinces her to return to his hotel room where he sexually assaults her. Confiding in a loyal friend at school who relays what happened to the principal, an FBI investigation begins and the girl's life starts to unravel. Also, her laid back father who advertises for a store that markets scantily clad teenagers to sell its apparel, is taken aback and soon becomes obsessed with finding the man who assaulted his daughter. Trust is an exercise in realism, tackling difficult issues and not soft serving as is often the case with the subject in made for TV movies. This is the second feature for Friends alum David Schwimmer, who demonstrates a strong handle for the craft, gauging strong performances from his actors and engaging methods in which to tell his story. Clive Owen delivers some of his strongest work as a man who never even considered the situation he's in and is shocked by the way his daughter reacts to the case. His final speech is wonderfully realized and delivered. Catherine Keener is wonderful has well who sees the unhealthy obsession developing in her husband and is perhaps more perceptive with their daughter. 15 year old and relative newcomer Liana Liberato delivers a remarkable performance is well, and as she goes through the roller coaster ride we gain a clearer window into what being a victim of this terrible offense at that uneasy age must be like. Supporting players are fine as well, especially Jason Clarke as a dogged FBI agent and the wonderful Viola Davis as a tender and patient counselor. Trust is a film that tackles a difficult issues head on, offers no easy answers, and provides insight into our technological world and the dangers that can stem from it.

A Cry in the Dark

In 1980 Lindy and Michael Chamberlain are vacationing in Queensland, Australia with their two boys and infant girl. One night, Lindy puts the baby to sleep in the tent and heads back to the group when she sees a dingo exiting the tent. She runs back and sees her baby is missing and a hunt begins to find the remains. What follows is a nightmare involving not only the morning of the couple’s dead baby but also a police inquest, trial, media frenzy, gossip, circumstantial evidence, and religious prejudice. Fred Schepisi’s A Cry in the Dark in an intricate recreation of events of Australia’s most known court case. From the search for the baby, to the media’s editing of the Chamberlain’s interviews, to the police investigation, to the court details, we are given what seems like a firsthand account of a strange and tragic case. Meryl Streep and Sam Neill are outstanding in the lead roles, Streep portraying a strong and slightly cold individual and Neill a devout man at first who finds himself falling apart at the seems under the weight of the circumstances. A Cry in the Dark is a wonderful example of translating a real life incident into film.

Somebody Up There Likes Me

Rocco Barbella was a scrappy street kid from Brooklyn who was never given a chance from the word go. With a drunken failed prizefighter father and a supportive yet frail mother, he was in and out of reformatories for most of his childhood. After being released from prison and drafted into the army, he went AWOL and stumbled upon a gym where he changed his name to Rocky Graziano and was able to channel his hate into boxing and, with the love of a young woman, became a world boxing champion. Robert Wise’s Somebody Up There Likes Me, a biopic on the early life of Rocky Graziano, was Paul Newman’s second role and was the film that introduced him as a top star. Replacing James Dean after his untimely death, Newman really delved into the role and delivered a high caliber performance that was really unlike the rest of his subsequent work, portraying Graziano as a headstrong tough guy. Supporting players Pier Angeli, as his sweet and loving wife and Everett Sloane, as his long suffering manager contribute fine work as well. The film was shot on New York City streets in beautifully stark black and white cinematography that won the Oscar. With Somebody Up There Likes Me, you can see the roots of great future boxing pictures, such as the buffoonlike likability of Graziano or the tenderness of his relationship with his girl evident in Rocky or the gritty black and white fight scenes which surely inspired Martin Scorsese when he made Raging Bull (he does commentary on the film’s DVD). Somebody Up There Likes Me is a fine sports biopic thanks to the Paul Newman’s amiability, the unexpected humor in Ernest Lehman’s script, and the fine direction of Robert Wise.

Something Wild

A straight and narrow tax accountant and family man (Jeff Daniels) pockets the check in an NYC diner and is caught by an impulsive young woman (Melanie Griffith), who offers him a ride back to the office. Instead the two embark on a spontaneous road trip where the two fall in love, engage in acts of petty crime, and return to her hometown where they visit her mother and attend a 10 year high school reunion where they pose as a married couple. At this point things take a violent turn as the woman’s husband (Ray Liotta) enters the picture, having just being sprung from the joint. Adept director Jonathon Demme’s Something Wild is an offbeat kinetic love story, the likes of which is not seen in today’s cinema. Made during the apex of 1980s greed, it also strives to be a condemnation yuppie culture. The actors fit well into their roles and are played conviction and likability. Daniels sincerity helps us empathize with his character’s situations and decisions. Griffith, with her girllike voice and Pandora’s Box wig (she even introduces herself as Lulu) make her character brazenly sexy and sympathetic at the same time. Finally, Ray Liotta is a particular standout in his first major role as a psychotic yet somehow charming ex-con and that trademark sinister laugh. Something Wild is a true original and a film that dared to break the mold of factory made Hollywood love stories.

Tabloid

Today we buy tabloid magazines at the supermarket or tune into gossip programs to hear about the latest antics of our favorite celebrities. None of them however compares to the exploits of Joyce McKinney, a Wyoming beauty queen with an IQ of 168 whose story involves kidnapping, a manacled Mormon, rape, doctored tabloid pictures, attempted suicide, a pit bull attack, and canine cloning. In Errol Morris' latest documentary, the delusional, passionate, and intelligent McKinney tells her side of the story while others involved, including two tabloid reporters, a pilot/accomplice, and a Korean genetics doctor. In addition to the incredibly bizarre nature of this story, it is also uncanny how all involved, including McKinney, present plausible versions of events. Errol Morris is the foremost documentarian of our time. With his self-made Interrotron, allowing his subjects to maintain eye contact with both himself and the camera, and hypnotic music, no one makes movies as engaging as he does. Still, McKinney's story, though engrossingly told, left me feeling the same way I feel after watching TMZ or leafing through a National Enquirer in the checkout line. It's immediately interesting but all and all, what's the point?

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

Cowboys & Aliens

A man (Daniel Craig) wakes up in the middle of the Arizona desert with a strange contraption on his wrist and no recollection of who he is. After attacking three men who were aiming at taking him in for possible reward money, he rides into an unfriendly town run by a Civil War colonel and now cattle baron (Harrison Ford). Soon the town is under attack by aliens, or demons as the townspeople call them, and the stranger with the mysterious past and bracelet may be their only hope for survival. Cowboys & Aliens is a genre mashup to the extreme, but it works because both genres, especially the western are respected. The story is not particularly inspired, but the movie is well filmed by director Jon Favreau and contains some spectacularly shot vistas to go with the CGI, which is well used and thankfully (and surprisingly) not in 3D. Craig and Ford are strong here but I think their iconic roles precede them and they are hard to buy as Western heroes. However, supporting actors such as Keith Carradine, Sam Rockwell, the beautiful Olivia Wilde, and Clancy Brown fit comfortably in their Western roles. At its most basic level, Cowboys & Aliens is a fun action film that doesn't go for overkill in the special effects department and is made by people who appreciate the two genres they are mashing up.

Shampoo

On Election Day 1968, a Los Angeles hairdresser (Warren Beatty) tries to secure a bank loan for his own salon while pleasing his girlfriend (Goldie Hawn) and the wife (Lee Grant), mistress (Julie Christie), and daughter (Carrie Fisher) of a prospective investor (Jack Warden). Directed by the great 70s director Hal Ashby and written by Chinatown scribe Robert Towne and Beatty, contains a slew of great performances from a spectacular cast with the underappreciated character actor Warden tremendous here as well as Grant in an Oscar winning performance. Shampoo is a muddled movie that strives to be a satire, lamenting the loss of 1960s innocence as well as the Nixon administration which would have been timely as the movie was released shortly after the Watergate scandal. Although I feel it falls short as satire, the film really comes together nicely in its final third and ends with a wonderfully realized finale. This, along with the performances, make the film worth seeing.

Mesrine: Public Enemy #1

Following his daring escape from and attack on a Canadian penitentiary, Jacques Mesrine is back in French custody. After taking a judge hostage during his trial and narrowly escaping again only to be recaptured and placed in a maximum security prison, Jacques begins to write his memoirs, plan his next escape, and further develop his image as a Robin Hood like gangster. Public Enemy #1, the follow up to Killer Instinct, is really the second half of one whole, shot in the same style as the first film. The difference though is that in this film Mesrine is devoid of all humanity and what remains in a convoluted delusional psychopath who rationalizes his atrocities and even finds good in them. Vincent Cassel's portrayal is again riveting, embodying the complexities of the infamous gangster. I also liked the work of Mathieu Amalric, who plays Mesrine's partner in crime but is quiet, reserved, and essentially his opposite in every way. The film is intense and nicely filmed as well, particularly during a manhunt scene following a casino robbery. I felt there were some mistakes in the film with structure, namely the extended shootout scene at the end of the film which we already know the outcome of as it was shown at the beginning of both films. Still, Mesrine: Killer Instinct and Public Enemy #1 tell the story of a brazen gangster with flair and contain a virtuoso performance from Vincent Cassel.

Sanctum

A team including a father and son and their financier go diving in an unexplored cave system in Papua New Guinea. When one of the divers dies after her gear malfunctions, the team races towards the exit which they see has been blocked by flash floods. Now they must find another way out through the labyrinthine cave system while battling the treacherous hurdles in their way as well as each other. Produced by James Cameron and directed by Alister Grierson, Sanctum is like other Cameron productions in that it is strong on visuals and weak on characterizations and scripting. The screenplay is by the numbers, characters are standard, and the actors are wooden. Although there are some breathtaking exterior shots early in the film, the cave scenes are murky and make it hard to discern what is happening. Having seen it on Blu-ray I can only imagine how dark and muddled the movie must have been in 3D. Despite its weakness though, I did kind of enjoy the movie for what it is, a simple old-fashioned adventure flick.

The Company Men

In 2008 as the recession kicks into full gear, three men at different pay grades in a Boston shipping company are downsized and take their situations in a different way. Bobby (Ben Affleck) is too proud to give up certain luxuries or take a lesser paying job. Gene (Tommy Lee Jones) questions the actions of the company he helped found and wonders if it all has been worth the comfortable lifestyle it has afforded. Phil (Chris Cooper) is past his prime and finds himself outmatched by younger, more hirable candidates. The Company Men is a relevant movie with its heart in the right place with a remarkable cast which also includes Kevin Costner, Rosemarie DeWitt, and Maria Bello. Unfortunately, it is also an empty movie that is painfully obvious and offers no surprises we didn't see coming. Its cast, particularly Jones who always seems to fit perfectly into his roles, carries it for a long while but ultimately there just isn't enough here to keep the film afloat.

Barney's Version

After an opening scene where he makes an extremely inappropriate phone call to his ex-wife's husband at three in the morning, we see Barney Panofsky at a bar. An old detective hands him a signed copy of his new book which details a murder investigation where Barney was the only suspect. We then flash back thirty years to get Barney's version of events in his life, starting with his first marriage to a free spirit, and including when he met Miriam the love of his life, at his second wedding. Sometimes, like the first glimpse Barney catches of Miriam, a movie can sneak up on you and absolutely floor you. Barney's Version, directed by Richard J. Lewis from the beloved novel by Mordecai Richler, is a wonderfully delightful film that manages to take the story of a misanthrope and draw humor, drama, and sentiment out of it. It features a virtuoso performance from Paul Giamatti, who plays Barney from about the age of 30 to 60 in remarkable makeup that flawlessly ages him both up and down. Rosamund Pike is endearing as well as Miriam and Dustin Hoffman offers wonderful support as Barney's father. I was recently lamenting a film about a reprehensible character for not making him likable. Barney's Version takes a politically incorrect curmudgeon and has you on his side for the entirety of the picture. This is a wonderful film.

Fair Game

Leading up to the second Iraq War, CIA agent Valerie Plame was put on a task force to locate weapons of mass destruction in Iraq. When there is word that Saddam Hussein purchased a large amount of uranium from Niger, her boss asks if her husband Joe Wilson would be a good candidate to investigate the purchase. Since he has experience as a diplomat in the country, Valerie says he would be a good fit and Wilson is sent over. He reveals that he believes such a transaction did not take place, yet the White House ignores his report and declares war. When he sees a piece on the news about the uranium purchase he submits an op-ed piece to The New York Times entitled "What I didn't find in Africa." In retaliation to this, White House staff members Karl Rove and Scooter Libby have Valerie's cover blown and their marriage begins to fall apart as Wilson fights back. Fair Game is an effective recent events thriller from Doug Liman, who helmed The Bourne Identity. Starring Naomi Watts in a stellar performance as Plame, she affirms further that she is one of the top female talents in Hollywood. Sean Penn, despite the fact that you can almost see him licking his chops at the chance to star in a movie discrediting the Bush administration and the Iraq War, submits his usual solid work. Movies about recent events are hard to do and I admired this one for pulling it off so well. I was reminded of last year's Green Zone, also about Iraq and WMD's and directed by a Bourne helmer, and how that film just did not work. Despite the fact that Fair Game has a tendency to be preachy especially in the end, it is a fine example of how to make a movie about recent historical events.

Winchester '73

A marksman and his friend ride into Dodge City to enter a Wyatt Earp hosted shooting contest where the grand prize is a 1973 Winchester rifle, a "1 in a 1000" gun that is so perfect that the manufacturer won't even sell it. While in town, the man runs into the outlaw who killed his mentor and when he beats him in the shooting contest, the fiend jumps him and leaves town with the Winchester. As the marksman hunts his enemy, the rifle makes a journey of its own as it changes hands across the old west. Anthony Mann's Winchester '73 is a fast paced Western with an interesting original concept in the story of both the journey of the hero and his weapon. Jimmy Stewart gives his usual commanding performance in the lead and Shelley Winters contributes a fine performance as well as a young singer who keeps crossing paths with Stewart during the course of his journey. Also, the way the story is structured allows for some nice characterizations. I felt the mountain ridge shootout at the end was anticlimactic, but all and all this is a brisk and enjoyable Western.

Deliverance

Three suburbanites are convinced by their adventurous friend to take a canoe trip down the Cahulawassee River in backwoods Georgia before the beautiful scenic area is flooded by the power company. After arriving and having two locals park their vehicles down river and engaging a young inbreed in a rendition of "Dueling Banjos", the men begin their trip down river and admire the beauty that lies before them. Soon, their luck begins to turn and they see the other side of nature and the dark side of man as well. Deliverance is both an exciting adventure story as well as a horror filled survival tale. From a script by James Dickey who also wrote the novel, it is directed by John Boorman who wonderfully captures the rustic scenery. The movie contains riveting performances by Burt Reynolds and Jon Voight, two actors most don't much consider for their acting abilities, as well as good work from Ned Beatty and Ronny Cox. The sense of dread created is palatable thanks in large part to the hillbilly characters who populate the film, particularly the two in the notorious rape sequence. While watching the film, I had trouble in several instances discerning what was going on in key scenes. Though critical at first, I soon appreciated this effect, as it must be the same disorientation being felt by the characters in the film. Deliverance is a wonderfully crafted film with fine performances that shows an all encompassing view of both human nature and nature in general.

Bad Santa

A vile misanthropic alcoholic Santa and his African-American elf travel from town to town each holiday season, secure jobs at the local malls, and proceed to rip off their employers. At their latest gig in Phoenix though, Santa's increasingly bizarre behavior threatens their jobs as well as a suspicious mall manager and an ambitious security guard. When a Santa loving bartender and a young overweight outcast come into his life, a wrench is thrown into his life which further complicates matters. Bad Santa is a one joke movie where the one joke isn't even particularly funny. Director Terry Zwigoff, who was able to find the right tones to capture odd characters in Crumb and Ghost World, does not succeed here and many jokes come off more as shocking than humorous. I did not really like the work of Billy Bob Thornton here either whose character generates nothing but disdain. The movie is kept afloat by a fine supporting cast though. Tony Cox is very funny as the vertically challenged sidekick and the same goes for Bernie Mac as the mall cop. John Ritter, in his last film role, is riotous as the mall manager when he describes the antics of Santa to Mac's character. I liked Lauren Graham as well as the bartender with a Santa fetish and Brett Kelly, who plays the kid, may have contributed one of the finest performances of young actor, right up there with Henry Thomas in E.T. Although there are some fine characterizations the main elements of the movie are just not right. Bad Santa overplays its hand and could have benefitted from dialing down its lead character's antics.

Friends with Benefits

A headhunter convinces an art director from L.A. to take a job in New York at GQ. The two strike up a friendship and soon realize that they are both emotionally unavailable people who have relationship issues. They decide to make a pact to see if they can have a strictly physical relationship while remaining friends which of course cannot possibly work. Friends with Benefits, the second movie this year featuring a Black Swan lead about commitment free casual sex, is brimming with pop culture references and plays out exactly as you would expect it. It is however buoyed by the immense likability of its two young stars who are given a large assist by a fine supporting cast. Mila Kunis and Justin Timberlake are both two beautiful people, but underneath all that they are extremely likable as well. Kunis embodiment of a real person and Timberlake's willingness to put himself out there give this film weight and help make us care about the characters. The supporting cast, which many would argue makes a film, is wonderful which includes Woody Harrelson, hilarious as Timberlake's flamboyant coworker, Richard Jenkin's as his dad, Jenna Elfman as his sister, and Patricia Clarkson, hysterical as well as Kunis' mother. Another asset of the film is the steady direction of Will Gluck who nicely captures the city and brings the same kind of charm he brought to last year's Easy A. Friends with Benefits is light and poppy but its entertaining as well due to good acting and nice craftsmanship.

High Plains Drifter

A drifter rides into a small southern town and is greeted with unwelcoming gazes from its residents as he passes by. Confronted by three men in the saloon, he soon takes them out when they make a move when he is having a shave across the street. Due to the fact that the three dead men were hired to protect the town as well as the gunfighter's considerable skills, the townspeople hire him to stave off three convicts about to be released whom the local mining company railroaded a few year's back. Yet this is not a simple revenge story, and the town may have bit off more than they can chew with the gunfighter who may have motives of his own and what awaits all involved is a showdown of biblical proportions. In his second film as a director, Clint Eastwood plays The Stranger character that brought him so much acclaim in Sergio Leone's Dollars Trilogy. High Plains Drifter is an antiwestern, competently directed by Eastwood which maintains an eerie mood and incorporates supernatural elements into its story. It is unlike most other Westerns as it presents a reprehensible hero and acts as a treatise against cowardice and religious hypocrisy. Actor Geoffrey Lewis also adds to the picture making an extremely effective villain. I read that crowds ate this up when released, but I am curious how they reacted to Clint's character. I was taken aback in an early scene when he is confronted by a fiery woman and drags her by her hair to a barn and essentially rapes her, and his behavior remains despicable throughout the picture. High Plains Drifter is a fresh take on a genre that can seem generic at times, and the eerie mood sustained in the film make this a fine entry.

The Perfect Host

A man has just robbed a bank and is on the run. His foot is severely cut and in need of medical attention and the police have his car's make, model, and plates. He stops at a house in an affluent neighborhood, rifles through the mail, and finds a postcard addressed to the house owner from a friend. John rings the doorbell and pretends to be a friend of the friend who sent the postcard and says he is in need. The owner of the house says he is about to have a dinner party but, being the consummate host, invites him in. The robber first ingratiates himself, then reveals who he is, taking the homeowner hostage and forcing him to cancel his dinner. However, the host has no intentions of actually doing so and soon a psychological game of cat and mouse ensues where neither man is exactly what he seems. The Perfect Host has an amateur feel to it, with its hazy picture and uninspired direction. Its story, which was creative at first quickly gets out of hand, throws credibility to the wind, and insists upon adding twist upon twist. The subplots involving the robber's motives for committing the robbery as well as the detectives investigation into it are handled too lightly. Yet, this mess of a movie is largely redeemed by the performance of David Hyde Pierce who is devilishly wonderful as the proper and maniacal host. Still, if you are intrigued by the premise I would recommend seeking out Sleuth, the 1972 film where Laurence Olivier and Michael Caine played a similar type of sinister game.