Short Attention Span Review - Lonesome Dove (1989)

Short Attention Span Review - Lonesome Dove (1989)

There's a reason so many people make such a fuss about Lonesome Dove, a sprawling epic from 1989 that still holds a lot of appeal for those who enjoy a good western.  It is a quality adaptation of a powerful story, and it features two stars enjoying robust parts perfectly tailored to their strengths.  I'm not sure that either Robert Duvall or Tommy Lee Jones were ever given as much to do with a role, and even though this is a mini-series, that's still a bold statement given their legendary careers.  This is a different animal, though, a work of considerable depth that is ripe with triumph and tragedy, laughter and heartache, excitement and drama--Lonesome Dove offers up all these things and so much more.  It is an ensemble piece, and other players like Danny Glover, Diane Lane, and Robert Urich, among others, have quite an impact on the proceedings.  But it is Duvall and Jones who are front and center throughout, and each man does a splendid job of bringing his character to life, aided by a Grade A script and equally compelling direction.  Gritty, warm, cold as ice, riveting, unbelievably sad, and truly inspiring, this tale leaves no stone unturned and hits the mark at every turn.  It is a grand western with a great many things to say, and it is sure to move anyone and everyone who joins a pair of rugged former Texas Rangers on an unforgettable cattle drive.  Lonesome Dove is a must-watch for those who enjoy the genre, and I have no qualms endorsing it for those who don't typically appreciate such fare.  Like I noted earlier, Lonesome Dove is a different animal, certain to reward viewers for years to come, and I heartily recommend it to those who enjoy my blog.

Final Grade: A+

Robert Duvall and Tommy Lee Jones are simply magnificent in this epic miniseries from 1989.  Nope, they don't make them like they used to.

Short Attention Span Review - Hell or High Water (2016)

Short Attention Span Review - Hell or High Water (2016)

Hell or High Water is a little slow, rather grim, genuinely interested in those areas where morality and integrity stand at odds with the foundations of society, and built on the bonds of family and loyalty.  The violence is realistic, the choices are dire, and the cost of living is high.  It's a movie that boasts many robberies and a couple of shootouts, but it offers much more in the way of drama than excitement because we care so deeply about the players.  This is due to an excellent script, some rich characters, and a wonderful cast that really grasps what the picture is all about and brings it to life with gut-wrenching authenticity.  We sense doom for some of these players from the moment the picture opens, and while we are propelled forward by the choices required of them, we never fully accept their fates, and are reluctant to see just how this uncompromising landscape will break them.  Jeff Bridges does an astounding job as a fair and likable lawman who is as human as he is larger than life--kinda sounds like a Jeff Bridges sort of role, doesn't it?  Gil Birmingham should not be overlooked as perhaps the most dignified person embroiled in this unforgiving saga.  Chris Pine and Ben Foster make the whole thing click on another level altogether as two very different siblings, with their work here draped in authenticity and crackling with purpose.  Pine is a bit reserved as the more introverted of the two, allowing Foster to light the screen up in one of his best performances to date.  Foster plays the most flawed and also the most generous of all these characters, and in a story like this, those who are willing to give of themselves are issued a bloody receipt for their efforts.  That's okay, though, because he plays the kind of man who is more than willing to man up and pay his dues, especially if his family is at stake.  Hell or High Water is another top-notch film from the mind of Taylor Sheridan, who also gave us 2017's unofficial best picture, Wind River.  Director David Mackenzie does a stellar job of bringing this deft combination of a modern western and an essay in noir to fruition, and I rate Hell or High Water as an absolute must-watch for those who like tough movies about hard choices.

Final Grade: A

Jeff Bridges remains an American treasure, but the work that Pine and Foster do here 

Short Attention Span Review: Cold in July (2014)

Short Attention Span Review: Cold in July (2014)

Sam Shepard was a true legend, a gifted actor who was probably a better writer, and his passing has been marked with a wealth of tributes that honor his legacy.  As I read about his filmography, I realized that I had never watched Cold in July despite the fact that it had piqued my curiousity when it was released back in 2014.  Thus, I decided to go ahead and check out this slow boil of thriller set in 1989, and I'm certainly glad that I did.  The de facto star is Michael C. Hall from Dexter, and while he rocked a hideous mullet and embedded himself in his role, Shepard made for a bigger presence.  Not surprisingly, both of these quality performances were overshadowed by Don Johnson once he showed up about halfway through Cold in July, stealing the show in a part that falls just short of iconic.  The direction courtesy of Jim Mickle was sound and the real star attraction had to be the riveting score by Jeff Grace, who was clearly paying tribute to 80s cinema by way of John Carpenter.  The pace was a bit uneven here and there, and while I can appreciate a nice slow boil, things did drag a bit at times.  Given that the movie is based on the work of Joe R. Lansdale, it isn't surprising that it concludes with a gory showdown, though I was surprised that there were so many plot threads left dangling.  I don't think I can grade this one any higher than a B-, but it was one bloodthirsty B- and that may not even be a bad thing considering that Cold in July is a B movie by design.

Final Grade: B-

Next to the killer score, Cold in July's biggest assett is the trio of actors who bond on a subversive quest to make things right that requires them to bathe in blood.

Short Attention Span Review: Texas Chainsaw Massacre 2 (1986)

Short Attention Span Review: Texas Chainsaw Massacre 2

The Texas Chainsaw Massacre is a minor classic that benefits largely from the raw look and feel of the piece, giving it an authenticity that makes it seem like the closest thing to a snuff film you're apt to find on Netflix.  As such, it isn't a picture I like to revisit, and most of the entries in this ongoing series are equally grim affairs that fall well short of the high water mark Tobe Hooper set with the original in 1974.  Hooper himself only revisited the material as a director with this 1986 sequel.  While many were completely turned off by its goofy tone and flamboyant characters at the time it was released, it has earned quite a reputation as a cult classic and remains a personal favorite of mine.  Unlike most sequels, the body count doesn't grow exponentially, and in fact The Texas Chainsaw Massacre 2 probably sports one of the lowest body counts that you're apt to find in a gory slasher flick.  Even if there aren't bodies piling up on the screen, there is an abundance of blood and guts on display, and Tom Savini's practical effects are amazing.  The surreal set design is just as impressive, and the characters are mostly caricatures.  The acting fits the bizarro tone nicely, with Bill Moseley and Dennis Hopper competing to see who can give the most ridiculous performance in the picture.  Moseley is equal parts hilarious and disgusting as the villainous Chop-Top, while Hopper plays Lieutenant Lefty Enright, a Texas Ranger who is both a righteous avenger and a bloodthirsty lunatic who may just be crazier than Leatherface.  In many ways, these sensational elements join together to make The Texas Chainsaw Massacre 2 a cartoonish chiller, and while it's easy enough to see how that could rub many people the wrong way, I love it.  In closing, I should also note that the score is fabulous, the ending is killer, and all the dark humor in play makes this a bizarre treat that is worth revisiting often.     

Final Grade: A

The MVP of this gonzo sequel has to be Bill Moseley, whose Chop-Top is a grotesque nutjob who is just  as amusing as he is disgusting.

Top 20 Horror Movies - #19) The Howling (1981)

As I celebrate the month of October with all my fellow horror fanatics, I'm ranking my Top 20 Horror Movies for you.  Thus far, the list includes:

#20) The Fly (1986)

And now I'm pleased to unveil my latest selection, another spectacular horror movie from the 80s!

Top 20 Horror Movies - #19) The Howling (1981)

One of two werewolf movies to make the list, The Howling is a twisted frightfest that I have a lot of affection for.  It has all the necessary ingredients for a quality horror flick, to include a worthy cast, an excellent setting, some creepy visuals, and an ominous mood.  The script by John Sayles varies greatly from the novel by Gary Brandner, but brings an engaging and fearsome story to the screen to superb effect.  Director Joe Dante does a tremendous job, and while I'm a big fan of Joe's other genre efforts (most notably Gremlins and Piranha) I believe that this is his best feature film.  It's tightly paced, brimming with atmosphere, and loaded with shocking sequences.  I'm awarding some serious bonus points for the unnerving opening and the equally disturbing conclusion.  There's also a nifty scene midway through the picture that surely ranks as one of the most frightening horror scenes out there that takes place in broad daylight.  The cast is stellar, with Dee Wallace slaying it in the lead role with quality support from players like Patrick MacNee, Kevin McCarthy, Slim Pickens, and the one and only John Carradine.  Pino Donaggio gave the film an eerie score that is a splendid fit for all the spooky shenanigans unfolding on the screen.  The Howling is equal parts engrossing, entertaining, and terrifying.  It is somewhat amazing to me that both this picture and that other werewolf movie released in 1981 (a superior effort that is ranked much higher on my list) remain the finest attempts to bring lycanthropy to the cinema.

Chief among the strengths of The Howling are
an ominous mood and some nightmarish visuals.