Revisit: Ghostbusters

A Columbia Pictures release 1984

Directed by Ivan Reitman

Written by Harold Ramis & Dan Aykroyd

Three unemployed parapsychology professors set up shop as a unique ghost removal service.



Ghostbusters is a classic, but it's always felt like one of those franchises that never really lived up to it's potential. The sequel is basically a rehash of the first, and while the cartoon was entertaining, the animation is barely passable by today's standards. Don't even get me started on Extreme Ghostbusters... extreme my ass.

What surprised me the most in revisiting this film is how paper thin the script is. The movie basically coasts by on the chemistry of its affable lead actors and the silliness of fake technical jargon. The special effects are spotty and the story is lose and ridiculous. But it's still wildly imaginative and entertaining, even after all these years.

Ghostbusters could seriously benefit from a revamp, assuming they don't go all Apatow and cast Seth Rogan and McLovin in it. They could do some crazy ghost effects and the possibilities within the concept are essentially endless. Here's to hoping Bill Murray gets his shit together and decides to don the old power pack for another go.

Review: The Curious Case of Benjamin Button

A Paramount Pictures release 2008

Directed by David Fincher

Written by Eric Roth

A man is stricken with a bizarre condition and forced to go through life aging backwards.



The Curious Case of Benjamin Button is really long. And boring. And nothing like the book at all.

It's a shame too, because I really like Dave Fincher. Fight Club and Se7en are both wildly entertaining, and Zodiac is one of the most criminally under-appreciated masterpieces of all time. He's got a sharp, distinct visual style and a gritty sense of story. None of which serve this film in any real way.

Oh sure, Benjamin Button is pretty. The cinematography is gorgeous, lighting incredible, effects are grand, and Cate Blanchett looks damn fine in that leotard. But the film is all gloss and no depth; it's so vacant it makes Postal seem like an honest treatise on the sociological effects of 9-11 on American Imperialism and suburban violence.

NOTHING happens in this movie. Nothing worth noting at least. Benjamin ages backwards, but it doesn't seem to matter -- when he's old (young), people just make cracks about how spry he is, and when he's young (old), people just seem to want to sleep with him. Brad Pitt provides his pretty face but not much more in terms of emotions; he seems to just waltz through the movie as if nothing is even happening.

Part of the reason for that is the terrible, terrible script. The whole "aging backwards" thing is basically treated like a special effect -- if you took it out, you'd lose nothing but a few quips, a handful of jokes, and some cool special effects. Eric Roth took a fantastically funny short story, ran it through a shredder, mixed it up with some scenes that got cut from Forrest Gump, put it together with some duck tape and handed it to execs with the pretense that it's some big "meditation on life and death". What a crock of horse shit -- really it's a meandering mess that has absolutely no focus with a dash of pretension and a butt load of basic Hollywood romance.

None of which services Fincher's abilities. The guy can piggy back of most 70's era filmmakers, but Button is clearly old Hollywood, and Fincher flounders. The film doesn't know if it wants be a somber tale of woe, a fantasy epic, or a comedy, and it fails at all three. Fincher's dark color palate and brooding camera doesn't make it any more clear.

My advice: don't waste your time with this one. It commits the worst of movie crimes -- it's over 3 hours long and boring as hell. You're seriously better off watching Postal. Not joking.

Revisit: Uwe Boll's Postal

A Vivendi Entertainment release 2008

Directed by Uwe Boll

Written by Uwe Boll & Bryan C. Knight

In the ironically named city of Paradise, a recently laid-off loser teams up with his cult-leading uncle to steal a peculiar bounty of riches from their local amusement park; somehow, the recently arrived Taliban have a similar focus, but a far more sinister intent.



Postal is easily one of the most crass, vile, despicable, idiotic, offensive, piece of shit movies I have ever seen. Written & directed by the über-awful Uwe Boll (unanimously considered and self-proclaimed worst filmmaker alive today), the film aims for every bottom barrel, low-blow, everything-but-the-kitchen-sink kind of joke imaginable, punctuated by random outbursts of extreme violence. Targets of comedy include terrorists, obese women, blacks, Jews, President Bush, welfare recipients, hippies, 9-11, Osama Bin Ladin, movie executives, conspiracy theorists, American corporations -- you name it, if it can somehow be twisted into something offensive or violent, it's in there.

To give you a sense of what I mean, here's the opening sequence:



For some reason Dave Foley gives a pretty damn good performance in the film and shows his cock for at least five minutes. Poor Dave Foley.

While the movie is pretty goddamn awful, it's much more well made than any of Boll's previous efforts -- the lighting is well done, edits relatively smooth, and effects surprisingly... effective. All in all I didn't mind watching it because: 1) it didn't hurt my eyes and 2) I was pretty damn stoned. I even chuckled a bit at some parts. After all, I'm a crass man, and I like crass humor. But still, it amazes me that this film even made it past the scripting level. It's really that vile and tactless.

I'm sure this film will slowly but surely develop a small cult following and one day be considered by a select group to be a work of idle genius. Some people just like really stupid shit. To be fair, it does have the trimmings of a cult film. But it also lacks any sort of dignity or redeeming value, short of its tasteless jokes. For the overly curious only.



Yeah, fuck you too, buddy...

Review: Synechdoche, New York

A Sony Pictures Classics release 2008

Written & Directed by Charlie Kaufman



Of Synechdoche, New York, Manohla Dargis of the New York Times writes: "To say that Charlie Kaufman’s “Synecdoche, New York” is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now."

I wish I shared her enthusiasm.

Synechdoche is ambitious, for sure, but that doesn't make it good. Mr. Kaufman misses the mark so spectacularly it's surprising he hasn't committed suicide yet.

I don't say that because the film isn't well made -- it is, particularly for a debut director, technically impressive. But the ideology behind it is so sickening and sad that it prohibits me from appreciating it. Synechdoche isn't a reflection or exploration of life -- it's an active stance against it.

Philip Seymour Hoffman plays an unsuccessful theater director named Caden Cotard. Being a Kaufman film, we know from the very first frame that this character is doomed. Doomed from the start. As he struggles with his creative bankruptcy, Caden opts to analyze every instance of his life through recreation and reenactment, thanks to the help of a sizable grant and a cast of dedicated actors. This would be fine, if it weren't a tactic deployed by depressed teenagers everywhere, and Caden were a likable character. He's not.

Caden is depressed, you see. Understandable. His life sucks and he is doomed. Perhaps if there were some light at the end of the tunnel he might cheer up a bit (and so would the audience). But there isn't any -- only death. And so it goes, over and over, with a dab of surrealism here and there to keep things interesting (and confusing. What the hell was the burning house metaphor for? It appears in the film at least three times and seems to be a differently symbol each time, but for what? Nothing as far as I can tell).

Ultimately the film is about life, death, and trying to make your mark. Caden fails, miserably, to impact the people and world around him because he is selfish, self-absorbed, and scared. He's an asshole. That's fine, but I don't want to watch that character get nowhere for 3 hours of my life. I could use that time for something else.

That's my biggest beef with this film -- ideologically it's so bleak and asinine that I don't understand why anyone would want to watch it to begin with. The character appears to be trying to make something of himself, but his tactics are so childish and futile it prevents him from moving forward. He is stagnant from the first frame onward, and in turn the film is stagnant.

There is some humor in there -- especially in the beginning -- but it wears thin as the film moves towards its final act. By the last third, I was just bored. I didn't care about Caden, I didn't care about his play, and I didn't care about the movie.

Interestingly enough, a lot of this years big movies have dealt with the concept of life and death -- Benjamin Button and The Wrestler, being two standouts. While The Wrestler was equally depressing, I found myself rooting for the main character. I couldn't do that with Synechdoche -- there is simply no one or nowhere to latch on to.

Several film critics have pointed out that this is a film that demands multiple viewings, and it will be analyzed and scrutinized by film students for years to come. I only have one question for those people: Why?

Revisit: Ratatouille

A Pixar film 2007

Directed by Brad Bird & Jan Pinkava

Written by Brad Bird & Jan Pinkava & Jim Capobianco

Remy is a young rat in the French countryside who arrives in Paris, only to find out that his cooking idol is dead. When he makes an unusual alliance with a restaurant's new garbage boy, the culinary and personal adventures begin despite Remy's family's skepticism and the rat-hating world of humans.



It took me over a year to sit down and watch Ratatouille because I have my reservations about Pixar. I tend to find their animation technically impressive, but flat and disinteresting, especially the color schemes (very purple and yellow), character designs, and all too fluid movement. Likewise the writing, while tightly wound, is often very formulaic, safe, and soft. The films hit the right beats, but all too well. For a company that puts so much individual care into each of their films, they sure seem to churn them out conveyor belt style. Not too mention most of the anthropomorphized characters could easily be substituted for humans and not much would change.

After watching, I still don't understand why this film was so well received. The animation is flat and bubble-like, the story has the same elements as every other Pixar film (an anthropomorphized animal is 'different' from the pack, gets separated, is sad about being lost but learns to love it, etc etc), and the humor is so safe it's practically non-existent. This is a kids movie -- Pixar only makes kids movies, let's be clear -- but where's the adventure? Where's the edge? Where is anything interesting? Why am I watching this?

Technically I am impressed -- don't get me wrong, the amount of tiny detail that gets its due is impressive -- but ultimately the film is unsatisfying. I really wish Pixar would grow a pair and make a goddamn movie worth watching. I still haven't seen Wall-E so maybe my feelings will change after that, but nothings done it for me yet...

Revisit: Street Trash

A Synapse Films release 1987

Directed by J. Michael Muro

Written by Roy Frumpkes & J. Michael Muro

When a liquor store owner finds a case of "Viper" in his cellar, he decides to sell it to the local hobos at one dollar a bottle, unaware the drink causes its consumers to melt. Two homeless lads find themselves up against the effects of the toxic brew, as well as a Vietnam vet with sociopathic tendencies, and the owner of the junkyard they live in.



This inane horror-comedy is one of the dirtiest, grossest, grungiest things I've ever seen. If you're a fan of splatter flicks it's a must see. People explode, they melt into piles of goo, one guy even gets his dick ripped off. It's disgusting. And great.

The plot isn't important -- you could even watch it with the sound off, but I guess you'd lose some of those nasty sound effects. There is some commentary on post-Vietnam vets and their quality of life -- a great scene at night in the dump with a ranting vet and a terrifying pan shot stands out -- but you're not watching this flick for the social commentary. You're watching it for the blood.



Here are most of the great scenes. There's another one of these on youtube somewhere. I highly recommend seeking this out if you're a splatter fan but the casual movie goer might want to stay away, especially if you're squeamish.

Review: Man on Wire

A Discovery Films release 2008

Directed by James Marsh

A documentary that follows the staging of tightrope walker Philippe Petit's daring, but illegal, high-wire routine performed between New York City's World Trade Center's twin towers in 1974.



I first learned of Philippe Petit when I was a freshman in college. I saw photographs of his daring tightrope walk between the Twin Towers and was instantly amazed by the image. He appeared to be walking on air, floating, literally dancing in the sky. It was unbelievable. Still is.

Man on Wire is a fantastic documentary that follows the events preceding Petit's famous walk, what some consider the "artistic crime of the century". It's not a flashy film, nor does it need to be -- the subject matter and main protagonist are in and of themselves so enigmatic and interesting that the film's composition barely matters. Focusing mainly on the planning and the event itself, the film often compares Philippe's artistic vision to a heist, using the bank robbery metaphor several times. But the profound beauty of Philippe's actions and the dedication of his cohorts make it a noble cause.



Perhaps what I took away most from this film is that this was a once in a lifetime event -- in the wake of terrorism and high security, a stunt like Philipe's is not only impossible physically, but philosophically. Public space isn't equated with public ownership in the same way; performance pieces like Philippe's rarely come without press releases, and tightrope walking is a particularly antiquated (and French) art form. But Man on Wire serves to celebrate and preserve that moment in time, in all its beauty. Easily the best documentary of 2008.

Revisit: Super Fly

A Warner Brothers Picture 1972

Directed by Gordon Parks Jr.

Written by Phillip Fenty

A cocaine dealer who begins to realize that his life will soon end with either prison or death decides to build an escape by making his biggest deal yet.



Super Fly is not a good movie. It's a trashy, poorly shot, sloppy, boring, silly, incoherent mess. There's little to no action, tons of slow, extended sequences, terrible acting, and still image montages galore. That said, there are two redeeming factors to this film. One is Curtis Mayfield's soundtrack, which made him super-famous and stands today as one of the best soundtracks of all time. Mental Defective's Tim Slowikowski recently compiled a list of the best music moments in film and how this one is not included is beyond me. It's one of the major centerpieces, and the song appears at least 12 times throughout the film, which would be annoying if it weren't so damn good.



The second redeeming aspect is the long takes, which make for some of the most boring yet bizarrely engrossing moments in the film. The best example of this is an extended sex scene, which I can't seem to find online, but it's unmissable if you catch the film. It goes on for like 10 minutes and there are so many close ups it's almost obscene.

Super Fly was director Gordon Parks Jr.'s follow up to his debut film Shaft, a classic blaxploitation film. According to legend, the script for Super Fly was only 45 pages long, hence all the still images, cut aways and extended slow motion sequences. If you're a fan of blaxploitation, you've probably already seen this film, but if you're new to the genre, I wouldn't recommend this as the place to start.

Revisit: Murder By Death

A Columbia Pictures release 1976

Directed by Robert Moore

Written by Neil Simon

Five famous literary detectives and their sidekicks are invited to a bizarre mansion to solve an even stranger mystery.



This screwball detective story takes jabs at some of the literary (and film) world's most popular crime-solving characters. Full of fast wordplay, puns, slapstick and absurdities, the humor is fairly antiquated (especially the Chinaman jokes), as are many of the spoofs -- in a few generations I doubt any one will get all the Thin Man or Charlie Chan references -- but it's all kept light and breezy and in good fun, and the talented cast helps give it legs of it's own. What other screwball comedy can boast a cast comprised almost entirely of Oscar winners and nominees? The flick has David Niven, Maggie Smith, Peter Sellars, Alec Guinness, Estelle Winwood, James Cromwell, Eileen Brennan, Elsa Lanchester -- all of whom were nominated or won an Oscar in their careers. Not too mention it features Truman Capote in his first and only screen role.

But the star of the show is Peter Falk. His Sam Diamond - the hard headed, fast talking, trigger happy take on the classic Sam Spade character from noir detective stories - has all the best dialogue, and the best delivery. He even manages to upstage Peter Sellars, which is pretty incredible. Some quotes:

Sam Diamond: The last time that I trusted a dame was in Paris in 1940. She said she was going out to get a bottle of wine. Two hours later, the Germans marched into France.

Sam Diamond: Why don't you push her wheelchair down the driveway? We got business here!

Sam Diamond: Wouldn't you know, out of gas.
Tess Skeffington: I saw a station about five miles back, Sam.
Sam Diamond: [hands her a gas can] I want you to know I'm gonna be waitin' for ya, baby

Dick Charleston: Another diversion. He gives us meaningless clues to confuse us, dangles red herrings before our eyes, bedazzles us with bizarre banalities, while all the time precious seconds are ticking away towards a truly terrible murder still to come.
Sam Diamond: You're good, Charleston. You're not my kind of cop, but you're smart and you smell good. You're not a pansy, I know that, but what the hell are ya?
Dick Charleston: Classy, I suppose.

Sam Diamond: Shut up, all of ya's. Nobody move!
Dick Charleston: What is it?
Sam Diamond: I have to go to the can again. I don't wanna miss nothin'.

All classic. His mysogionisty insecurities provide some of the heartiest laughs, and are probably the most likley to translate in years to come. Falk's range is really incredible.



Worth a view if you're a fan of old literary detective stories, Clue, or older styles of comedy they just don't seem to make any more. Also, Peter Falk. God bless that man.

Review: Repo! The Genetic Opera

A Lionsgate film 2008

Directed by Darren Lynn Bousman

Writing credits:
Darren Smith (screenplay)
Terrance Zdunich (screenplay)

A worldwide epidemic encourages a biotech company to launch an organ-financing program similar in nature to a standard car loan. The repossession clause is a killer, however.



This horror-musical directed by Darren Lynn Bousman (Saw II-IV) was a passion project, and it shows. Clearly made for the cult-niche market, Repo! is a mess of electronic music, goth imagery, pulp violence and slapstick humor. While by no means a good film, it will certainly find its place amongst those for whom it was made, as well as a few stragglers, like myself.

Why did I like this movie? I'm not sure. Maybe it's because I have a penchant for horror-musicals -- the audacity, the self-awareness, the silliness of it all was reminiscent of Phantom of the Paradise but for the digital age. Maybe because I've never quite seen anything like it before.

It has it's problems for sure -- comic book style title cards display the action before the film kicks in, revealing way too much information. The acting and singing are terrible. The music has no hooks and isn't memorable. The color palate is disgusting and terribly digital and overexposed. But that's the charm. You can tell so much heart and soul went into making it that eventually it just sucks you in. And the self-awareness that holds throughout adds a lot of humor. It's a pretty damn funny movie.

The film was released in a road show format earlier this year, and already had a sizable cult following before its first date. The showing I went to was completely sold out hours before the showing. I can't say I recommend it, but one look at the trailer, and you can immediately tell if this film is for you.

Man, I Wish It Were March

Every time a new Watchmen item is released I get more excited/worried about this film. Watchmen is my all time favorite comic book and one of my favorite books in general. It's a stunning psychological work, incredibly thought provoking and layered with meaning. Dark Knight proved that comic book movies don't have to be all action and silly costumes. Let's hope they get this one right as well.

Remembering the Pioneer Theater

Dear Pioneer Friends, Filmmakers, & Film Lovers,

Ten years ago, when we began construction on The Pioneer, we were told we were crazy - that no single screen, indie-oriented, 99 seat theater, east of Avenue A, could possible survive. But for nine years, we did - showcasing the best of truly independent cinema, presenting restored classics (from The Last Picture Show to Ace in the Hole), curating special programs (from Luis Guzman Night to the 42nd Street Smut Show), hosting guest filmmakers (from Robert Altman and Robert Downey to Steve Buscemi and Richard Kelly) and partnering with local film organizations including the IFP, Filmmaker’s Co-op, Cinema Tropical, Fangoria, Women in Film and Television, Cinewomen, Third I, Slamdance, Docfest, and many more...

We’ve been blessed that The Earth Mother, Mel Cooley, The Dude, and the other Two Boots pizzas have been able to support our labor of love all these years, but now, with our lease ending and a rent hike looming, it’s no longer economically feasible to keep the theater going. Friday, October 31st at midnight, will be our last regular screening, appropriately: Night of the Living Dead.

We want to thank our amazing staff, past and present, and we want to thank you, our loyal audience, for your patronage over the years. Please, PLEASE, keep supporting independent films and independent theaters.

Finally, on Friday, November 7th, we’ll be having a goodbye party starting at 6pm - free movies, popcorn, and reminiscences. Please come by!


I used to live a few short blocks from this theater, one of the only true "independent" art houses left in New York City. These guys showed everything, from
classic Kubrick and Sam Fuller, to pop horror, splatter, and grind, to thought provoking documentaries. They often supported local artists, allowing patrons to rent screens and arranging one-off screenings of no-budget features and shorts. They also screened a lot of Gay/Lesbian themed works and were a great outlet for progressive film-making.

One of my fondest memories of that place was the night I met Bill Plympton there. He was screening his latest feature Hair High (which is an incredible film, by the way, if you're an animation junkie like myself). I arrived like an hour or so early and got to sit with Bill and chat about animation, John Kricfalusi, New York, Plymptoons and much more. He signed a bunch of DVD's for me and was a truly gracious guy. To get to meet one of my heroes - and then watch him introduce his latest work - I can only thank the Pioneer for that.

The Pioneer is/was probably the only theater in New York still brave enough to house low-brow and high-art under one roof. The fact that they're closing down - regardless the reason - is a tragedy for the current New York cinema scene. It will truly be missed.

Remake: Oldboy

Another tip for the bad idea file: /film is reporting Will Smith & Steven Speilberg plan on remaking Chan-Wook Park's Oldboy

Speilberg & Will Smith to remake Oldboy?

There is no reason to remake this movie, but Hollywood's going to do it eventually anyway. It's been in the pipeline since the original was released in the states in 2005. But Will Smith is a very odd choice for this -- I don't think he has the gritty sneer to be able to pull of the titular character. Spielberg is an odd choice as well, considering the dark tone and feel of the film. And how will the hyper-but purposeful-violence of the original translate in a senseless Hollywood version?

Who knows. Who cares. Here's the side-scrolling hammer fight sequence that made the original Oldboy famous. Go rent this flick if you haven't seen it.



Hollywood, you disappoint me.

Revisit: Bad Taste

A WingNut/New Zealand Film Commission release 1987

Written & Directed by Peter Jackson

A crackpot team of agents investigate a group of aliens that chase human flesh for their intergalactic fast-food chain.



Peter Jackson made this film over a series of weekends across four years, starting in 1983. Hard to believe that twenty years later he'd be picking up a trove of Oscars. Continuity errors and goofs abound, but Jackson's distinct sense of humor and visual language finds its footing here. Lots of crazy close-ups and meandering hand-held pans.

The plot is paper-thin and there's a lot of scenes with characters just running through the woods, but Jackson's effects are stellar and the sound design is unbelievable. One of the grossest sounding movies I've ever seen.

If you're a fan of splatter, you've already seen this. Worth a gander if you're a fan of Peter Jackson or just enjoy cheesy horror.

Review: Zack & Miri Make a Porno

A Weinstein Company release 2008

Written & Directed by Kevin Smith

Lifelong platonic friends Zack (Seth Rogan) and Miri (Elizabeth Banks) look to solve their respective cash-flow problems by making an adult film together.



You would think that crafting a painfully by-the-numbers romance story line would allow plenty of wiggle room for jokes. Not the case with Zack & Miri, which may go on record for being the most predictable romantic comedy disguised as raunch to come out in ages.

Zack and Miri are platonic best friends and are both broke. So when a video of Miri in some questionable attire becomes an internet sensation, of course it's only logical that they film a porno together to collect some quick cash.

Only, that doesn't make sense at all. And what follows is a trajectory of the most predictable kind: they have sex and realize they love each other, things get awkward for a moment, but it all works out.



Now a person could probably figure all that out from the trailer - it's called 'convention' for a reason. But assuming that is the template, what makes a movie standout is how it goes about utilizing that template. In this case, raunchy, disgusting, hilarious jokes.

Only there weren't many. There were lots of slow reaction shots of Seth Rogan and Elizabeth Banks. Lots of really awkward conversation scenes about whether they were/weren't in love. But very few jokes. The funniest parts of the film came from the performances - namely Craig Robinson & Justin Long - and weren't derived from the scenes or set pieces.

Say what you will about Kevin Smith - self-aggrandizing, talentless, fat - his films characterized my youth. Growing up in Jersey, they spoke to me and many others at a very young age, and showed us that all you needed to make a movie was a simple, clever set up and some good dialogue.

Well, Zack & Miri doesn't have any good dialogue. It's not witty, nor clever, nor does it even make much sense. The performances are mildly amusing, but none of the actors are in top form. I simply can't recommend seeing it.

Revisit: A Nightmare on Elm Street Part V: The Dream Child

A New Line Cinema release 1989

Directed by Stephen Hopkins

Writing credits:
Wes Craven (characters)
John Skipp (story)
Craig Spector (story)
Leslie Bohem (story & screenplay)

Alice, having survived the previous installment of the Nightmare series, finds the deadly dreams of Freddy Krueger starting once again. This time, the taunting murderer is striking through the sleeping mind of Alice's unborn child. His intention is to be "born again" into the real world. The only one who can stop Freddy is his dead mother, but can Alice free her spirit in time to save her own son?



A Nightmare on Elm Street is one of my favorite horror flicks of all time. Combining slasher scares with meta-physical reality, Wes Craven crafted an original and truly scary film that took advantage of the 80's gore effects boom. It also spawned a slew of knock-offs and an obsession with altered-reality/dreams/paranormal activity that dominated 80's horror.

The sequels all tinker with the nightmare formula a little bit - Freddy's abilities to haunt and scare and the definitions of the dream world are all a bit fluid - but one element always keep these films from being a predictable slasher flick: the kills. Freddy Krueger murders are always an excuse for outlandish, over-the-top effects, and the crazier the better.

In this film, the fifth in the series, Krueger returns in an attempt to inhabit the soul of Alice's unborn child. The precedence for Freddy's soul-stealing was set in the second film - which is universally hated, I believe, for having gone astray from the original formula - and is no less ridiculous here.

Neither are the kills, which range from a ridiculous comic book style slashing to Seven-style force feeding to the infamous "Freddybike". This film is all about the effects, which take a cue from the works of Rob Bottin (The Thing) and feature a lot of flesh mutation and slippery tendons.



By this point in the series, Freddy had developed a strong personality too, which also separates it from many other slasher flicks. He's given some hilarious quips and says the word "bitch" a lot.

Look out for a great scene that addresses the subject of abortion (if Alice just got rid of the damn baby, Freddy couldn't keep killing). The dialogue is priceless.

Revisit: Friday the 13th Part VI: Jason Lives

A Paramount Pictures release 1986

Written & Directed by Tom McLoughlin

Tommy Jarvis battles the infamous Jason for a third time after returning to his grave and accidently bringing him back to life.



The original Friday the 13th is basically a Halloween rip off with Kevin Bacon and a few twists. This film, the sixth in the series, wears the whole slasher killing sexy teens formula on its sleeve so much that it doesn't even bother to explain Jason's return. His corpse just gets struck by lighting and suddenly the slaughter begins.

I guess it's good that they cut to the chase. And some of the slaughter is sweet. The scene where Jason punches straight through the dudes heart is pretty kick ass.



Overall though this shit pales in comparison to the effects heavy Nightmare on Elm Street stuff, or the works of John Carpenter & David Cronenberg several years earlier. Maybe it's not fair to compare, but I still think there's room in slasher flicks for some pretty hefty visceral gore.

Revisit: Blast of Silence

A Magla Production 1961

Directed by: Allen Baron

Written by: Allen Baron (writer), Waldo Salt (narration written by)

Having been 'away' for some time professional killer Frankie Bono returns to New York to do another job: assassinate some mid-level mobster. Although intending to avoid unnecessary 'contact' while carefully stalking his victim Bono is recognized by an old fellow from the orphanage, whose calm and unambitious citizen's life and happy marriage contrast heavily with Bono's solitary and haunted existence. Exhausted and distracted Bono makes another mistake, but his contract is not one to back out of.



Though film-noir was a relatively dead genre by 1960, this film by Allen Baron is often cited as a classic example of the genre. Not a revisionist work like, say, Cassavete's Killing of a Chinese Bookie, Blast of Silence relies on more traditional noir elements to resounding effect.

Voice-Over narration, written by then black-listed writer Waldo Salt (Midnight Cowboy), provides the meat of the story. While the film is famed for this narration, and it is a tradition of the genre, I found it particularly distracting. I'll admit there's a handful of lines in there that are absolute gold ("Pay for the woman, and take her to a dark corner -- where no one can see your face"), it's pretty unnecessary.



Why? Because Baron - a first time director - gets the most out of his camera and his actors. Baron himself plays the lead, the unraveling hitman, to startling effect. Larry Tucker (most well know as the writer partner of Paul Mazursky) gives a commanding and incredibly enjoyable performance as Big Ralph, an overweight seedy gun salesman. But most impressive is Baron's camera, which captures some amazing shots of New York City. The film is downright gorgeous. And it tells us everything we need to know - without the VO.

Criterion recently put out a great remastered version of this flick, which Martin Scorsese often cites as his favorite New York City film. If you're a fan of the genre, this is a must see. And at a mere 77 minutes, it's a swift, easy watch.

High & Low Remake

Mamet & Nichols to Remake Kurosawa's High & Low -- /film.com

Been a while since I've posted on here, but this news item prompted me out of retirement. Mike Nichols (Closer, The Graduate) and David Mamet (Glengarry Glen Ross) plan on remaking Kurosawa's classic 1963 drama High & Low. The remake is supposedly going to be produced by Scott Rudin and Martin Scorsese.

This is probably my favorite Kurosawa film, one that's made with a lot of heart and technical skill. The film tells the story of a rich man who must pay ransom for the son of one of his employees. It explores the economic disparity between rich & poor in post-war Japan. Kurosawa's first film to be shot in widescreen, his staging is absolutely incredible. He knew just where to put his actors to maximize each shots impact. And the presentation of geography and the city landscape is also unbelievable.



Normally I'm flat out against remakes of perfect films (and this film is perfect), but my feelings are mixed on this one. While it could never hold a candle to the original, it could be very interesting thematically, considering the current political and economic climate.

Give the original film a look, if you haven't already. You won't be disappointed.

Also, expect more regular posts from here on out. I'm watching more movies and want to make a better record of what I've seen.

NYJSFF

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