Short Attention Span Review - Hearts of Darkness: A Filmmaker's Apocalypse (1991)

Short Attention Span Review - Hearts of Darkness: A Filmmaker's Apocalypse (1991)

If you love the cinema, you have probably seen Apocalypse Now and heard a little about the making of this visionary masterpiece.  Apocalypse Now is one of those rare feats in the industry, a stupendous achievement where tales surrounding the lengths that the artists went to create something are almost as intriguing as the work itself.  In 1991, Fax Bahr and George Hickenlooper put together this documentary that offers tremendous insight into that storied production.  Deftly combining interviews with most of the key players and raw footage captured on set, Bahr and Hickenlooper allow us to feel like the proverbial fly on the wall while an audacious undertaking threatens to unravel at every turn.  Not only that, but the cast and crew threaten to unravel as well, making this a gripping tale in and of itself.  Hearts of Darkness is about people testing their boundaries.  It's also a battle against the elements and a test of endurance.  It's about faith and conviction, and it is also about desperation, and perhaps even madness.  It's one thing to ponder a director who had taken the industry by storm dragging his cast and crew into the jungle to shoot a sprawling epic while in search of an appropriate conclusion.  It's yet another to see the various challenges unfold, to listen in as Francis Ford Coppola struggles to find himself as much as he struggled to find that ending that would make the journey worthwhile.  It is an inspiring peak behind the curtain that shows us an odyssey that could have yielded disastrous results, and it is both a tribute to passion and sheer lunacy that something so prolific was born of this fury and fire.  Luck may have played a role as well.  Regardless, Hearts of Darkness is a vivid documentary that is both enlightening and entertaining.  It is surely must-see viewing for those who recognize Apocalypse Now as one of the boldest and most riveting movies ever made, but even someone who had never heard of that grim saga would probably enjoy Hearts of Darkness.  

Final Grade: A

An unparalleled look at the making of a genuine classic, this documentary is a profound exploration of art on a grand scale.

Monster Jams: Ultraphonix - Original Human Music (released 8/3/2018)

Monster Jams: Ultraphonix - Original Human Music (released 8/3/2018)

A killer surprise, Ultraphonix's Original Human Music is a stellar album that may be the best rock album to hit my radar in 2018.  Heavy on variety, the album offers up some dope rock that leans toward metal, some funky jams, a soulful ballad or two, and frequent splashes of jazz and blues to keep things popping.  It never misses, and as so-called "supergroups" go, singer Corey Graves (Living Colour), guitarist George Lynch (Dokken), bassist Pancho Tomaselli (War, Philm), and drummer Chris Moore (Cry Wolf, Damage, DeathRiders), deftly intertwine their respective talents to produce something new and distinct.  While their efforts do conjure their greatest strengths, the end result isn't a nod to any of the performer's bands and certainly seeks to cover new ground.  This is a key element of the album's success, and it is impressive that the band is able to take an experimental approach to much of the material without sacrificing intensity or cohesion in the process.  Everyone has brought their A game, and everyone has their moment to shine, though Graves occassionally dominates the proceedings with his range and passion.  Though he may not enjoy the same fanfare as Lynch, Tomaselli surely holds his own on bass, and while George shreds all over the place in blistering displays of talent and vision, Pancho provides Ultraphonix with a lively heartbeat and several deft flourishes of his own.  Moore's work here is a bit more deliberate and less showy, but his steady hand is a key element of the band's ability to cover so much territory without getting lost in the wilderness.  Standout tracks include "Walk Run Crawl," "Free," "Wasteland," and "Take a Stand," but you won't find a bad cut on this gnarly recording.  Highly recommended!

Final Grade: A+

Top 5 Clint Eastwood Movies

I recently put together a list of my Top 5 Clint Eastwood Movies.  This was a daunting task as I've been watching this stellar performer's films for about as long as I can remember.  Additionally, his filmography is jam-packed with quality pictures and narrowing all those worthy candidates down to a Top 5 meant that several wonderful movies (many of which are personal favorites of mine) wouldn't make the cut.  I tried to present some variety along the way as this list could have easily boasted nothing but the rugged westerns that this cinema titan is perhaps best known for, and in doing so I wound up making some unconventional choices.  Regardless, I think this a worthy list brimming with wonderfully entertaining films, and I'm happy to share my Top 5 Clint Eastwood Movies with you.

Feel free to chime in and let me know how you would rank Clint's cinema exploits and share your thoughts on my choices.

. . .

#5 - Any Which Way You Can (1980)

I absolutely love both Every Which Way But Loose from 1978 and Any Which Way You Can, the 1980 sequel to that smash hit.  Critics loathed these country-western ventures with a heaping side of slapstick humor, but what do they know?  Both films fared well at the box office and I'm not alone in my enjoyment of them, though there are many Eastwood fans who didn't enjoy these goofy comedies any more than the critics did.  Eastwood mostly plays it cool as Philo Beddoe, a bare-knuckle brawler with a unique family unit, while those around him generate most of the laughs.  Some consider Clyde, Philo's beloved orangutan, to be the real star of these movies, and that furry trickster does possess an abundance of charisma.  Geoffrey Lewis was terrific as always as Orville, Philo's closest non-simian ally, and Ruth Gordon is a profane and cantankerous delight as Ma.  Any Which You Can also benefits from the presence of B-movie icon William Smith, who is perhaps best known as "the dude who played Conan's dad" to my peers.  Here, he is cast as a rival bare-knuckle fighter, though he actually helps Clint out for much of the picture and is the first to congratulate him after their epic throwdown brings the picture to a close.  Any Which Way You Can is a silly affair that lampoons Clint's tough guy persona, country folk, the police, bikers, and the motel industry, among other things, and it boasts more laughs than uppercuts.  It is certainly a departure from Eastwood's typical fare, but the dude was so versatile that he was clearly just as comfortable in the role of Philo Beddoe as he was playing Dirty Harry or The Man With No Name (who had a name in each Leone masterpiece that Clint starred in, but that's a story for another day).  I am aware that there are numerous Eastwood vessels that are actually better movies, so I understand why some may not understand why I put Any Which Way You Can on my list.  However, if we're looking at Eastwood's filmography in terms of entertainment value, I think the #5 spot on my list is a fitting prize for this lighthearted yarn that is brimming with country music, unique characters, and chuckles.  

There are a lot of things I love about this movie, but the thing that puts it over
the top for me is the presence of the woefully underrated William Smith and the
cool relationship that his Jack Wilson and Eastwood's Philo Beddoe enjoy.

. . .

#4) Magnum Force (1973)

Once again, I'm picking a sequel, and this may come as a surprise given the quality of Dirty Harry, Eastwood's first outing as the prickly but lovable Harry Callahan.  Hey, I love Dirty Harry.  It's a fantastic movie and it introduced us to a legendary tough guy, but Magnum Force is even better.  I give a lot of the credit for this noteworthy achievement to John Milius, who came up with a really neat idea for the sequel.  What if our maverick lawman, a hero who does things his way, went toe to toe with some hotshot vigilante cops who had taken this approach too far?  Michael Cimino helped the mighty Milius turn that curious notion into a riveting screenplay that bolstered this stellar follow-up to one of Eastwood's biggest hits.  Hell, throw Hal Holbrook's smarmy Lt. Briggs into the mix, insert some humor and a few nifty setpieces, and the end result is one of Eastwood's best movies, as well as one of those exceptionally rare sequels that somehow manage to outshine the original.  Obviously, Clint was a perfect fit for the part of Dirty Harry, and few big screen policeman have been so charismatic or entertaining.  Yes, I'm a huge fan of this series.  True, things started well with Dirty Harry, reached new heights with Magnum Force, and then gradually began to descend before bottoming out with The Dead Pool in 1988.  In the end, it doesn't matter--Dirty Harry is an iconic character in the cinema landscape and he enjoyed two stellar adventures and two solid pictures before that lackluster final entry reared its ugly head.  People don't think about The Dead Pool when they think about Dirty Harry; they think about Clint saying "Make my day" or asking some poor punk if he feels lucky.  I know there are many of you who prefer Dirty Harry and I understand that picking Magnum Force here will give some of you pause, but it's an easy decision for me.  Magnum Force is my favorite Eastwood venture that didn't require him to wear a six-shooter on his hip or dress up in combat fatigues.

Dirty Harry may be the first time Eastwood portrayed maverick lawman
Harry Callahan, but this 1973 sequel is a superior motion picture.
In other words, a man has to know his limitations, but a sequel doesn't.

. . .

#3) Kelly's Heroes (1970)

Like most everyone reading this, I dig Clint's westerns and his gritty thrillers.  However, when I put Any Which Way You Can at #5 to start this list, that clearly signified that some of Eastwood's lighter films also rank among my favorites.  One such movie that seldom gets its due is Kelly's Heroes, an irreverent gem.  Hey, the very notion of a comedic and borderline absurd take on WWII might sound downright blasphemous to some.  It should be noted that in addition to poking fun at the establishment and lampooning the military, this one does have a bit of heart, and there are some serious themes buried beneath all the bluster.  Eastwood's cool lead (his Kelly may be totally fearless--or maybe he just has a serious hard-on for gold bars) and the fantastic supporting cast never fail to entertain.  Telly Savalas is fabulous as Kelly's hard-nosed commander and Don Rickles is equally captivating as Crapgrame.  Of course, the true star of the show is Donald Sutherland as Oddball.  Yes, the character belongs to another era, but Kelly's Heroes is far more interested in entertainment than plausibility--though it never grows so outlandish that it becomes an outright farce.  Purists probably don't favor Kelly's Heroes as much as I do, and modern audiences who are more familiar with films like Saving Private Ryan or Fury (read my scathing review of that one here) may not appreciate this quirky romp either.  I like gritty and realistic war movies too, but I may enjoy a quality satire even more.  I have no qualms about putting Kelly's Heroes at #3 as I break down my Top 5 Clint Eastwood Movies.

Bonus Points: I find the opening reel to be among the best title sequences of all time.  The way the images and the music clash set the stage for something totally unique.  It's damn near Tarantino-esque, and the entire score (c/o jazz maestro Lalo Schifrin) is nothing short of wonderful.  Additionally, the big tank showdown that closes out the picture is extremely impressive and even takes the satire to another level at one point when the picture playfully pays homage to The Good, the Bad, and the Ugly.

Sutherland is out of this world as Oddball, and Eastwood nails the part
of Kelly, a somewhat dubious and incredibly determined leader of men.

. . .

#2) Unforgiven (1992)

When Eastwood rose to fame, he did so by virtue of the western, though he would later prove himself equally adept at other genres.  Regardless, when he returned to the western in 1992 with Unforgiven, it's rather fitting that he gave us one of the finest American movies of them all.  Poignant, gripping, violent, heartfelt, and exceptionally well-made, Unforgiven is an epic film.  The cast is sensational, the plot is riveting, and the cinematography is a joy to behold, though the material and the mood give the picture serious weight.  It may not be an easy watch, and it may not be nearly as warm or as hopeful as many of the classic westerns that fans of the genre know and love, but it is a wonderful movie that boasts considerable riches.  Eastwood is sheer perfection as William Munny, a retired gunslinger who thought that he had left his wicked ways behind.  Morgan Freeman is equally sublime as his pal Ned, while Gene Hackman chews scenery as a sadistic lawman named Little Bill.  Richard Harris shines as English Bob and the entire cast does a terrific job of telling this story.   The movie is a meditation on many things, to include the thin line between heroism and villainy.  It also ponders society's difficult relationship with the truth as opposed to the more palatable myths that we tend to promote.  This is surely even more impressive when you take into account that Unforgiven somehow manages to succeed at paying homage to the western while it is also keenly dissecting the genre and shedding new light on many of the most familiar aspects of this beloved portion of the cinema landscape.  David Webb Peoples obviously did a tremendous job with the script, and it would have been a crime for anyone other than Eastwood to direct and star in this landmark picture.  I don't think it's Eastwood's best film, nor I do think that it is his best western--those honors belong to the movie sitting at #1 on this list.  However, if you're one of the many who feel that this is Clint's finest offering, I certainly understand where you're coming from.  It really is a stellar movie that boasts one of our most gifted performers at his very best, and few films are as thoughtful or as rewarding as Unforgiven.

Unforgiven isn't just one of Eastwood's best films, it's a legitimate American classic.

. . .

#1) The Good, the Bad, and the Ugly (1966)

There are good movies, there are bad movies, and there are ugly movies.  Then there are great movies.  I'm talking about epic creations that not only stand the test of time, but often shape the cinema landscape for years to come.  One such film is The Good, the Bad, and the Ugly, which many see as master director Sergio Leone's most inspiring accomplishment.  Everything works to perfection in this mesmerizing treasure, to include the cast, the iconic score, the wonderful camera work, and the presence of a director with tremendous flair and vision.  No one made movies quite like Leone, and with Eastwood, Eli Wallach, and Lee Van Cleef in tow, he provided us with an operatic descent into greed and war that should be experienced by anyone who enjoys movies.  The scope and the grandeur of this colorful epic makes it a worthy treat for those willing to trade a few hours of their time for a surreal journey that is blessed with an embarrassment of riches.  Chief among those riches is Clint's performance, a case of perfect casting if ever there was one.  With The Good, the Bad, and the Ugly, Eastwood emerged as a star, and while he continues to provide us with quality motion pictures, this feast for the senses remains his greatest achievement.  This shouldn't come as much of a surprise, for few films aim to be as robust or as magnificent as this one.  Of those that strive for such significance, many collapse under their own weight, many arrive as bloated affairs that miss the mark, and only a precious few actually come close to delivering the goods.  It is certainly a rare occasion when such a production somehow manages to meet the expectations of those daring souls who saw fit to launch such a venture.  The Good, the Bad, and the Ugly is one case where a massive undertaking of this sort actually yielded a glorious success.  This was Clint's third film in which he starred for Leone, and for many he will forever remain The Man With No Name.  Of course, those who are paying attention will notice that Clint is playing a different character in each of these films and all of these characters have names--so long as we're willing to count "Blondie" as a name in The Good, the Bad, and the Ugly.  So perfect is he for these roles that it almost seems as though Eastwood doesn't even have to try to deliver a rousing performance.  Yet portraying a character who squints more than he talks surely requires a degree of subtlety and a knack for nuance that is difficult (if not impossible) for many to summon.  Eastwood's icy cool demeanor and Leone's vibrant imagination were quite a potent combination, and The Good, the Bad, and the Ugly is one of the best movies ever made.  I treasure Clint, and narrowing down his fabulous filmography to 5 movies was daunting, but putting this dazzling masterpiece at #1 was an easy call.

All three of the westerns that Clint starred in for legendary director Sergio Leone
are terrific pictures, but it's The Good, the Bad, and the Ugly that still towers
over the genre nearly 50 years after it was originally released.

Short Attention Span Review: Milius (2013)

As documentaries about filmmakers go, it is hard to imagine any subject being more prolific or intriguing than writer and director John Milius.  It should come as no surprise then that Milius is such a spectacle.  Even as a fan of this gifted filmmaker and his larger-than-life personality, I was surprised to see just how broad his impact on the film industry has been.  Those who aren't as familiar with John's body of work will likely be flabbergasted to learn that one man played such a pivotal role in so many iconic pictures and performances over the years.  His contributions to movies like Jaws and Dirty Harry are discussed along with movies he scripted (Apocalypse Now and Jeremiah Johnson, among others) and directed (films like Dillinger, The Wind and the Lion, and Conan the Barbarian).  Professional accomplishments aside, the stories about his larger-than-life antics and his brazen disregard for going with the flow are wildly compelling.  This documentary also benefits from more than just a wealth of intriguing material; the number of famed participants who share their thoughts on John's work and persona throughout the picture is positively mind-boggling.  It is entirely possible that it would be easier to list the major actors, directors, and producers who weren't in this documentary than it would be to name everyone who appeared in the picture.  Milius offers far more than reflection on the cinema and funny stories about a brazen individual, touching on politics and delving into some truly emotional territory in the closing reel.  As a fan, I was totally captivated, but I imagine that those who aren't as familiar with the subject--and perhaps even those who don't like John's filmography--will be entertained by this documentary.  It is bold, colorful, and surprisingly nuanced, much like John Milius himself.

Final Grade: A

Short Attention Span Review: Kelly's Heroes (1970)

I dig Clint Eastwood.  Who doesn't?  He has starred in so many wonderful movies and he has made quite a name for himself as a director as well.  Few performers have ever had such a presence and managed to piece together a career so ripe with quality ventures.  While I treasure his westerns and his gritty thrillers, some of his lighter films also rank among my favorites.  One of the Eastwood pictures that seldom gets its due that I'm particularly fond of is Kelly's Heroes, an irreverent gem.  While we live in an era where the very notion of a comedic and borderline absurd take on WWII might sound downright blasphemous, it should be noted that Kelly's Heroes isn't all fun and games.  In addition to poking fun at the establishment and lampooning the military, it does have a bit of heart, and there are some serious themes buried under all the bluster.  Yet Eastwood's cool lead (his Kelly may be totally fearless--or maybe he just has a serious hard-on for gold bars) and the fantastic supporting cast never fail to entertain and the movie consistently drops big laughs on us while the Germans do their best to drop bombs on our heroes.  Telly Savalas is fabulous as Kelly's hard-nosed commander and Don Rickles is equally captivating as Crapgrame.  However, the true star of the show is Donald Sutherland as Oddball.  Yes, the character belongs to another era, but Kelly's Heroes is far more interested in entertainment than plausibility--though it never grows so outlandish that it becomes an outright farce.  Sutherland is a joy to watch in Kelly's Heroes and I'm pretty sure that he is the only performer to ever steal the show from Clint Eastwood.  Lee Van Cleef was surely Clint's equal and B-movie veteran William Smith made a game attempt at upstaging Clint in Any Which Way You Can (another of Eastwood's lighthearted yarns--as well as another of my personal favorites), but I can't think of anyone aside from Sutherland who flat out walked away with an Eastwood vehicle.  Purists probably don't favor Kelly's Heroes as much as I do, and modern audiences who are more familiar with films like Saving Private Ryan or Fury (read my scathing review of that one here) may not appreciate this quirky romp either.  I also enjoy gritty and realistic war movies, but I may enjoy a quality satire even more.  Kelly's Heroes is a fun movie with several major stars firing on all cylinders and I highly recommend it.

Bonus Points: I find the opening reel to be among the best title sequences of all time.  The way the images and the music clash set the stage for something totally unique.  Additionally, the big tank showdown that closes out the picture is equally impressive and even takes the satire to another level by managing to pay homage to The Good, the Bad, and the Ugly.

Final Grade: A+

Attempting to steal the show in a Clint Eastwood film  might sound
like an impossible dream, but Sutherland does just that in Kelly's Heroes.

Short Attention Span Review: Go Tell the Spartans (1978)

U.S. History captivates me.  I'm particularly drawn to tales of the old west and stories about our country's various military exploits.  As someone who grew up shortly after the Vietnam war had concluded, that conflict has always greatly intrigued me.  There have been many notable films about that tragic war and I count Go Tell the Spartans among them.   Yet many who have seen movies like Apocalyspe Now, Platoon, Full Metal Jacket, and We Were Soldiers haven't experienced this insightful look at the early stages of the conflict.  Burt Lancaster, one of the best leading men ever, stars as a cynical Major who has already fought in two wars before being sent to an undermanned outpost in South Vietnam.  There, he is charged with overseeing a group of South Viatnemese and does his best to fulfill his obligations though he never regards his assignment as much more than an exercise in futility.  Craig Wasson, Marc Singer, and Evan Kim offer up noteworthy performances and director Ted Post does a great job of bringing Daniel Ford's 1967 novel Incident at Muc Wa to the screen.  As the picture progresses, the movie's title becomes more and more pertinent.  Barker's understanding of the situation is mostly ignored by his superiors who aren't stationed in the combat zone and thus the odds of survival for our heroes rapidly diminish.  Go Tell the Spartans is a methodical anti-war film that lacks the star power, the exciting overtones, and the rock soundtrack of many better-known Vietnam sagas, but it is undeniably authentic and extremely well-acted.  It offers little in the way of hope, though a motion picture that seeks to probe the beginning of that difficult period in American history should emerge as a downer.  It wasn't a big-budget film and it isn't slick or exciting, but it is compelling.  Finally, Go Tel the Spartans is worth seeing for Burt Lancaster's somber performance alone, and anyone who enjoys this sort of fare should definitely seek it out. 

Final Grade: B


 


Trivia:
 Craig Wasson also starred in another of my favorite films about the Vietnam conflict that doesn't get the respect it deserves, The Boys in Company C.



 

The ill-fated Major Asa Barker's last words: "Oh shit."

Short Attention Span Review: Fury (2014)

I really wanted to like Fury.  Honestly, I expected to.  I had heard nothing but good things about it and the ad campaign made it look like just the kind of picture that I was hoping for.  Before we talk about all the things that went wrong, let's discuss the things the picture did right in the interest of fairness.  First off, Brad Pitt was outstanding.  No surprise there.  The rest of the cast was up to the challenge, and even the toxic presence of Shia LaBeouf didn't derail Fury.  Honestly, he was actually very good in his part, and that's a hard thing for me to say.  I still hope and pray that he is truly retired, but only time will tell.  The costumes and the effects were top-notch, and early on the action was brutal and convincing.  Sounds like a winner, right?  So how did Fury go wrong?  The direction was okay, so I'm not going to throw David Ayer under the bus on that front, but the story is another matter altogether.  Boy, oh boy, was there a war movie cliche that didn't pop up in this one?  Despite the intensity and grit that the actors brought to their roles, every character in the film is a war movie caricature.  The plot leaves a lot to be desired, mostly due to two woeful offenses.  Fist, there's a lengthy, absurd, and totally contrived sequence with a pair of German ladies in the middle of Fury that was supposed to give the picture heart and drama and wound up giving me a dramatic case of heartache instead.  Secondly, when we get to the impossible mission that brings the picture to a close, things truly fall apart.  The movie staggers across the finish line after subjecting us to one of the most ludicrous action scenes that I've ever seen, and I enjoyed The Big Hit.  It's not that the battle at the end of Fury is dumb, as that would be giving this attempt at a rousing finale far too much credit.  It's beyond dumb.  It's dumber than dumb.  It's dumber than Dumb & Dumber.  It makes anything that happened in 300 seem like a startlingly realistic depiction of combat.  The enemy soldiers that our hardened band of heroes square off against in the closing reel of Fury had the military expertise and fighting spirit of the ducks in the NES masterpiece Duck Hunt.  Sometimes you watch a movie with high expectations and you're too hard on it if it fails to meet these expectations.  I don't think that was the case here.  I wanted a lot from Fury, that is true, but it didn't just fall short of my expectations.  It absolutely tanked.

Final Grade: D

"It's okay kid, the enemy soldiers we're going to encounter at the end
of the movie couldn't take Mickey, Donald, and Goofy in a firefight."

Philm - Fire from the Evening Sun

As many of you know, Dave Lombardo is no longer drumming for the metal juggernaut that is Slayer.  Of course, that doesn’t mean that he’s retired.  He’s currently gearing up for the first Fantomas show since 2009 alongside Mike Patton, Buzz Osborne, and Trevor Dunn, and yesterday Philm released their second album, Fire from the Evening Sun. 

I greatly enjoyed the first album (Harmonic) from this trio consisting of Gary Nestler (Civil Defiance) on vocals and guitar, Pancho Tomaselli (War) on bass, and the godfather of double-bass himself on drums.  However, this second effort represents a tremendous upgrade.  The charged vibe that permeated so many of the heavier efforts on their debut recording is still present, but the space and exploration that defined the stranger outings has been minimalized.  The end result is a leaner and more aggressive recording, yet enough of the avant-garde approach remains to separate it from the pack.

It’s a bit difficult to classify this group.  The strangest among us will surely find their efforts a bit restrained, while their sound will be far too innovative for the status quo.  Yet those who can respect something that is equal parts heavy and different will be entranced by Philm’s quixotic sound.  There are an abundance of dizzying sequences when the band seems to be letting off steam, layering Nestler’s furious vocals amid intricate riffs, a pounding bass line, and thunderous drumming courtesy of Lombardo.  There are also charged sequences that simmer without boiling over, and all of these powerful bits are interwoven with gentle and melodic moments that display the band’s finesse and depth.  It’s hard to find another band to compare these guys to—Filter comes to mind, but they were never this heavy or creative and they got softer and more mundane as time wore on.  That’s okay, because being unique is cool.  Being unique and heavy is even cooler.  Bonus points: being unique and heavy with Dave Lombard on drums is fucking awesome. 

           

 If you dig this kind of stuff and you’re unfamiliar with Philm, you need to check them out, and I highly recommend both of their albums.  Having said that, I feel the need to repeat myself: Harmonic was really cool, but Fire from the Evening Sun positively burns.