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: White Hunter, Black Heart (1990)

When people talk about Clint Eastwood's astounding filmography, one title that is often overlooked is a project that was very near and dear to him, White Hunter, Black Heart.  This unique effort is a thinly veiled take on legendary director John Huston and the making of The African Queen.  Eastwood plays John Wilson, a maverick filmmaker and a larger-than-life figure who plays by his own rules.  The fact that he does so in a profession that requires a considerable amount of teamwork presents numerous clashes and complications, and things only grow more difficult when this cranky director becomes obsessed with killing an elephant while on location in Africa.  The early stages of White Hunter, Black Heart make it clear that the picture Wilson is set to direct is critical to his financial well-being, yet this stubborn and thoroughly entertaining rebel never prioritizes it over anything else that catches his fancy, to include women, fisticuffs, incessant verbal sparring with his producer, and hunting.  It's the hunting that presents the most problems for the making of the movie within the movie, as Wilson's obsession is maddening to even those who understand him the most.  In one of the film's most revealing moments, it becomes clear that Wilson himself is a bit disturbed and confused by his intense desire to kill an elephant.  While Eastwood is front and center throughout, looking and sounding completely different than we've come to expect, Jeff Fahey is also on hand to balance things out as the only person involved in the production who seems to genuinely like or understand the crazed director.  Yet even he is pushed to the brink as Wilson becomes more and more desperate to bag his trophy and the production of the film becomes more and more volatile as a result.  Fahey's character, Pete Verrill, is based on Peter Viertel, who wrote the first-hand account of the making of The African Queen that this picture is based on.  An able performer who I'm exceptionally fond of, Fahey's performance here will surely lead audiences to wonder why he was seldom offered roles of this stature in major studio efforts.  In the end, this unruly and quixotic movie belongs to Eastwood, who also served as director, and I think it stands as one of his most engaging and challenging offerings.  It is a meditation on passion, madness, individuality, and filmmaking, and it raises many potent questions on its way to a fascinating conclusion.

Final Grade: B+

Clint Eastwood is a man obsessed in White Hunter, Black Heart.

Short Attention Span Review: The Shining (1980)

 

I'm a big fan of Stephen King and The Shining is one of his darkest and most powerful novels.  My respect for the book initially kept me from appreciating this wonderful film from one the greatest directors ever, Stanley Kubrick.   If I had written this review a decade ago, I may have given this one a "C" or worse.  Truthfully, if one reads King's book and then views the film expecting a faithful adaptation, disappointment is on the horizon.  Kubrick took the basic premise from the novel and did his own thing with it, making a great many substantial changes along the way.  Yet time and my appreciation of quality filmmaking have dramatically softened my stance on this landmark horror movie from 1980.  Despite taking a different approach to the material, Kubrick delivered one hell of a fright flick that is greatly enhanced by Jack Nicholson's most impressive performance.  The energy and the menace that he brings to the role of Jack Torrance is legendary.  I know some think he hammed it up a bit too much, but I can't criticize his work here.  Who has seen this film and somehow managed to avoid quoting it at some point?  Anyone?  Okay, give me an example of a scene in the picture where Jack isn't entertaining as hell.  Go ahead, I'll wait.  No, it isn't a nuanced performance that plumbs the depths of an alcoholic's descent into madness, and I understand why that ticks some people off.  Let's just not ignore the fact that it's a brazen take on a demented character that is incredibly intense and wildly compelling.  Opposite Nicholson, Shelley Long also delivers the goods as Wendy, and it's her excellent portrayal of a battered wife, a role that is ripe with torment and misery, that serve to embellish Jack's reckless abandon and his demonic zeal.  It's also this disparity that pulls the audience in, heightening the struggle taking place in the creepy hotel.  Speaking of the Overlook--man, is this film atmospheric or what?  The cinematography is amazing, the music is full of dread, and the sets are wonderful.  The end result is an ominous and scary film bolstered by rich performances and a director who was a true master of his craft.  It may not be faithful to the book, which is an iconic terror yarn, but this visionary film is also a legitimate masterpiece.

Final Grade: A

This is what you get when you make out with strange women in haunted hotels.

El Rey Network, I Think I Love You

It's official: I have fallen for the El Rey Network.  Seriously, I'm starting to think that Robert Rodriguez dreamed this station up just for me.  Giallo flicks, spaghetti westerns, and kung fu treachery--hot damn!  Seriously, check out Thursday's theme:

What's not to love?  Now, some of you may not dig kung fu flicks as much as I do.  I don't know what the hell's wrong with you, but it's true--some people don't really care if honkies from the CIA interrupt their kung fu.  The rest of us dig Thursdays on El Rey.  In truth, if you like cool movies, this channel has you covered whether you dig kung fu or not.  Cult classics are the norm and there are gory horror flicks like City of the Living Dead running when Mad Max isn't ripping down the asphalt in The Road Warrior.  Hey look, it's Taxi Driver!  Like I wondered at the start of the paragraph, what's not to love?

So what's happening on El Rey aside from all the groovy movies?  Well, there's Lucha Underground, for starters.  I dig the wrasslin' and let me assure you, you've never seen wrasslin' like this.  The environment, the atmosphere, the moves--Lucha Underground is a wicked ride.  If you don't like wrasslin' you may actually dig this, and lifelong fans of suplexes and DDTs may just lose their minds watching this shit.  It's insane.

Of course, there's more.  I really dig watching Rodriguez sit down with other directors and talk shop on The Director's Chair.  You know that I had a blast watching John Carpenter dish on his biggest hits and share his thoughts on the film industry in general, and the two episodes devoted to QT were equally compelling.  There are other programs and even the ads and promos are nifty given that they have a distinct grindhouse feel. 

I just discovered El Rey a few weeks ago, so I know that I'm late to the party, but I'm quickly becoming this channel's biggest fan.  Do yourself a favor and tune in!

David Fincher Directing a Star Wars Film?

 There has been a lot of talk about the Star Wars property since Lucas sold it to Disney, and on a few occasions David Fincher has been mentioned as a potential director.  Now there's some talk that he would be open to that.

David Fincher

 David Fincher?
 Yeah, the guy who did Fight Club and Se7en, Zodiac and The Social Network.  Now, he's a very talented director, and he has some interesting ties to the material.  He apparently cut his teeth working with Lucas back in the Return of the Jedi and Temple of Doom days, so there's some history there, but it still seems like an odd choice to me.  I would be very intrigued to see how he would approach such a project, but I just can't see it being a cozy fit.
It will be very interesting to see how this plays out.