by Sam Juliano
Election Day 2018 spelled pretty good news for national Democrats with the House of Representative now wrested from Trump control, though a lot of work still needs to be done heading forward to 2020. Local Democrats as always won in Fairview unopposed with the county candidates and Senator Menendez winning 3 to 1 in the Borough. This past week J.D. Lafrance published a great essay on John Carpenter’s They Live. Jim Clark will be featured this coming week with another essay in his superlative Ingmar Bergman series.
James Uhler’s spectacular Horrorfest 2018 is nearing the end but several capsules still unpublished are offered, each masterfully written. This annual endeavor is quite the treat for classic and contemporary horror fans.
Disconnected (G. Bechard… 1983) slasher
A discombobulated film that appears to have started as an ‘arty’ student film; you’ll occasionally see it mentioned online as an ‘interesting/unique slasher’. Watching a film where the filmmaker doesn’t know what they’re doing is neither unique, nor different. With the exception of a few clippable bits of unintentional humor, this is a must miss. Might end of being the worst film I do this season (which has otherwise been very high overall, what with all the old films).
A discombobulated film that appears to have started as an ‘arty’ student film; you’ll occasionally see it mentioned online as an ‘interesting/unique slasher’. Watching a film where the filmmaker doesn’t know what they’re doing is neither unique, nor different. With the exception of a few clippable bits of unintentional humor, this is a must miss. Might end of being the worst film I do this season (which has otherwise been very high overall, what with all the old films).
Sisters (B. De Palma… 1973) slasher/psychological
Obsession (B. De Palma… 1976) psychological thriller
Decided to do these two since Christina hadn’t seen either; both hold up magnificently well after all these years for similar reasons. They don’t have the sadistic/cynicism of Dressed to Kill/Body Double and show considerable range. Sisters is near minimalistic and rather touching throughout (you end up spending the rest of the night mourning the passing of Margot Kidder, who is terrific here), with De Palma’s best use of split-screen for me (with Blow Out, it remains my favorite of his works). Obsession, another film built around duality, is his (and writer Schrader’s) homage to Vertigo, and while it’s not fair to compare the two (Vertigo is truly one of the forms masterworks), Obsession is better than you recall, De Palma at his most tender and restrained (which is still pretty lurid). Bernard Hermann is featured tremendously in both, with the slight nod going to Sisters because the score is employed more tastefully (sure, the overuse in Obsession is much of the point as the film is a fever dream) with the anarchic noise during the murder sequence a particular thrill.
Obsession (B. De Palma… 1976) psychological thriller
Decided to do these two since Christina hadn’t seen either; both hold up magnificently well after all these years for similar reasons. They don’t have the sadistic/cynicism of Dressed to Kill/Body Double and show considerable range. Sisters is near minimalistic and rather touching throughout (you end up spending the rest of the night mourning the passing of Margot Kidder, who is terrific here), with De Palma’s best use of split-screen for me (with Blow Out, it remains my favorite of his works). Obsession, another film built around duality, is his (and writer Schrader’s) homage to Vertigo, and while it’s not fair to compare the two (Vertigo is truly one of the forms masterworks), Obsession is better than you recall, De Palma at his most tender and restrained (which is still pretty lurid). Bernard Hermann is featured tremendously in both, with the slight nod going to Sisters because the score is employed more tastefully (sure, the overuse in Obsession is much of the point as the film is a fever dream) with the anarchic noise during the murder sequence a particular thrill.
Pontypool (B. McDonald… 2008) zombie/psychological
Mandy (P. Cosmatos… 2018) psychological art/slasher
Two recent works that you could glean a lot about our current state of affairs from; Pontypool an interesting rumination on conspiracy theory and unverified news, while Mandy probes dangerous, cultish behavior and, humorously, ‘snowflakes’. Both are good and recommended—Pontypool the insular story of a small, remote radio station that potentially unearths a cataclysmic event (zombies born from hearing spoken language triggers), before taking even wilder turns, is a remarkable study of assured cinema restraint. We’re thoroughly entertained by a minimal setting, a true testament to captivating acting, tight editing, and a roaming, interested camera. Mandy, has little in terms of restraint, it’s a kaleidoscopic, noisy, beat red nightmare, something of a Antichrist meets Tarkovsky via a drive-in theater (or perhaps more apt, a mom and pop VHS rental house). Infused with a heavy metal sensibility, I’m might not watch a Horror film more to my tastes in quite some time, I loved it, and feel Cage has reached his peak in this second half of his career where he’s asked too often play deranged, over-the-top madman. Here, he has to occasionally emote too, and we’re thankful—I loved Beyond the Black Rainbow, but this is a film way beyond the sum of its influences. Masterful, but not for everyone. Like most great Horror.
Mandy (P. Cosmatos… 2018) psychological art/slasher
Two recent works that you could glean a lot about our current state of affairs from; Pontypool an interesting rumination on conspiracy theory and unverified news, while Mandy probes dangerous, cultish behavior and, humorously, ‘snowflakes’. Both are good and recommended—Pontypool the insular story of a small, remote radio station that potentially unearths a cataclysmic event (zombies born from hearing spoken language triggers), before taking even wilder turns, is a remarkable study of assured cinema restraint. We’re thoroughly entertained by a minimal setting, a true testament to captivating acting, tight editing, and a roaming, interested camera. Mandy, has little in terms of restraint, it’s a kaleidoscopic, noisy, beat red nightmare, something of a Antichrist meets Tarkovsky via a drive-in theater (or perhaps more apt, a mom and pop VHS rental house). Infused with a heavy metal sensibility, I’m might not watch a Horror film more to my tastes in quite some time, I loved it, and feel Cage has reached his peak in this second half of his career where he’s asked too often play deranged, over-the-top madman. Here, he has to occasionally emote too, and we’re thankful—I loved Beyond the Black Rainbow, but this is a film way beyond the sum of its influences. Masterful, but not for everyone. Like most great Horror.
Q: The Winged Serpent (L. Cohen… 1982) fantasy/horror
Larry Cohen, easily one of the unheralded masters of cult Horror, or cult cinema in general, for me, offers another fun genre work, this time using his budgetary limitations to blow the film up into nearly nonsensical avenues. You wouldn’t think that sitting down to watch a monster movie about a winged beast that you’d get something approaching a crime picture, but here you get a police procedural and a diamond heist. It’s all pretty loose and easy, and Cohen’s script breathes life into what would otherwise be dull scenes (well, that and Michael Moriarty is a real hoot as he would be again in The Stuff a few years later). The man knew how to make pictures—in my opinion he has 3 or 4 top notch schlock works—and you really wonder what could have been had he ever had a real budget—you imagine Ghostbusters straight away here, that’s a straight comedy and this isn’t, but there is just so much overlap. In a more just world Cohen’s Special Effects would look as polished as a De Palma, and we’d recall it as one of the more ingenious post-Hitchcockian deconstructions. Oh well, he has a definite fan in me regardless.
Larry Cohen, easily one of the unheralded masters of cult Horror, or cult cinema in general, for me, offers another fun genre work, this time using his budgetary limitations to blow the film up into nearly nonsensical avenues. You wouldn’t think that sitting down to watch a monster movie about a winged beast that you’d get something approaching a crime picture, but here you get a police procedural and a diamond heist. It’s all pretty loose and easy, and Cohen’s script breathes life into what would otherwise be dull scenes (well, that and Michael Moriarty is a real hoot as he would be again in The Stuff a few years later). The man knew how to make pictures—in my opinion he has 3 or 4 top notch schlock works—and you really wonder what could have been had he ever had a real budget—you imagine Ghostbusters straight away here, that’s a straight comedy and this isn’t, but there is just so much overlap. In a more just world Cohen’s Special Effects would look as polished as a De Palma, and we’d recall it as one of the more ingenious post-Hitchcockian deconstructions. Oh well, he has a definite fan in me regardless.
On the theatrical movie front, first, the bad news: MID90s, directed by newcomer Jonah Hill is a disjointed, poorly focused nostalgic wallowing, which is structured episodically and is emotionally distancing. Now the good: BOHEMIAN RHAPSODY does not deserve the hammering it has been taking by many in the critical fraternity. Yes, it is often chronologically inaccurate and it does downplay Freddy Mercury’s homosexuality for a more bisexual assertion, and the film isn’t as intimate as it should be, but still in the end the electrifying performance by Rami Malek as one of rock’s most iconic idols, some splendid musical passages and the spectacular finale at Wembley Stadium elevate the film considerably. BEAUTIFUL BOY also features an extraordinary lead performance by Timothy Chalamet as a heroine-addiction college student is a harrowing story of anguish and familial contentiousness. The humanist works hits home especially for those who themselves had known or had a family member undergoing this downward spiral. Not a masterwork, the narrative’s fluctuating time frame doesn’t always work but still hugely affecting. We saw all three films on successive nights this week in Edgewater and Secaucus. The Argentinian film EL ANGEL about a baby-faced teenage serial killer was disturbing and flawed but still reasonably well-made. I will be watching LEAN ON PETE, which I missed in theaters on blu-ray and will revise this report in the morning.
Mid90s ** 1/2 (Wednesday night) Edgewater multiplex
Bohemian Rhapsody **** (Friday Night) Edgewater multiplex
Beautiful Boy **** (Thursday night) Edgewater multiplex
El Angel *** 1/2 (Saturday night) Angelica Film Center
Lean On Pete ***** (Sunday night) BLU-RAY
I am still recovering from LEAN ON PETE, which I do believe may well be the film of the year!!!!
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Perhaps even more important than taking the House, I thought, were all the victories at state level. Now perhaps we’ll see something done about the blight of gerrymandering that has so grievously corrupted our democracy.
Note to self: Must check out El Angel. I’ve seen far too little Argentine cinema.
John, that is an excellent point! New Jersey’s Democrat essence came shining through in the massive anti-Trump vote. Of course Menendez survived one of the most vicious campaigns ever. Yes they must now address the gerrymandering issue. We should be able to realign now.
BTW the late night viewing of LEAN ON PETE has me thinking that with six weeks left in 2018, I have now seen the film of the year.
Have a great week my friend!
I’ll look out for Lean on Pete. We watched Avi Nesher’s Past Life (2016) last night, and I was bowled over. Music’s an integral part of the story, which made me wonder if you’d seen it and how you fared with it.
John I did see it indeed and found it profoundly moving even if at times I thought it was uneven. But it has stayed with me and I could relate to you and Pam being bowled over absolutely!
Sam, I agree with your position of Lean on Pete. I somehow thought you had seen it, and was touting it as the best film of the year. You definitely need a box of tissues. But it does present the emotions in an honest and natural way. I love the director and his films Weekend and 45 Years.
Ricky, I concur with every observation you make here. I saw it months after it had released and immediately recognized it was the film of the year for me. Many thanks!
Sam, as you may recall I found Bohemian Rhapsody to be thoroughly enjoyable. Although the film is said to contain historical inaccuracies, it’s pretty clear to me that the film was not intended to be an engrossing biopic. For what the filmmakers seemed to set out to accomplish, I’d say it hit all the marks and, frankly, was more successful in that regard than A Star Is Born.
Pierre, I really must say I do agree with you. It was not meant to portray accuracy, though I respect that some felt the film took too many liberties. Alas, I felt it celebrated the work of Freddie Mercury and Queen in an intimate yet spectacular manner. I also feel it succeeded more that A Star is Born did. Thank you my friend!
Hi Sam,
I also only recently got to see LEAN ON PETE on Blu-Ray. I was looking forward to seeing it last year based on the strength of Andrew Haigh’s previous films but in 2017 it only played at film festivals and didn’t make it here. I believe it got released earlier this year for a brief theatrical run but I missed it. Really glad to have finally seen it as it surprised me and took me on a lovely emotional ride, not something that I expected given what I knew about the film before hand.
I continue to be in awe of your ability to keep watching the new releases which I fear I am falling behind on a lot recently.
Sachin, as you may recall LEAN ON PETE released in June of 18 so we both are on target to include on any year-end lists next month if that is indeed desired. I always count the US release day theatrically as you know, rather than festivals. Yes this was quite the emotional ride, and the effects still have worn off for me. My friend, I still have quite a number of films to see, but appreciate the kind words. I’m sure you will in the end take in a staggering total and I greatly look forward to post your celebrated list here at WitD! Have a great week!
Per Roger Ebert, The Winged Serpent screened at the 1982 Cannes film festival. To no one’s surprise it did not win the Golden Palm.
If Lean on Pete depicts animal abuse I’ll have a difficult time with it. I had to look away when Judith Anderson caned an offscreen cat in The Strange Love of Martha Ivers.
Having a Wild Weekend. Alternate title: After a Hard Day’s Night Petulia Darling Gets a Taste of Wild Strawberries. Reminding me that Barbara Ferris, a poor man’s Julie Christie, also appeared in a mod trifle called A Nice Girl Like Me, with Ferris as a “girl with a penchant for pregnancy” and, I kid you not, the sublime Gladys Cooper as her aunt.
After a rewatch of The Honeymoon Killers I wonder: Does Mary Jane Higby really look like Mamie Eisenhower? I just don’t see it. Others do.
Thanks to TCM for screening Having a Wild Weekend and The Honeymoon Killers.
Mark, I can tell you up front that LEAN ON PETE does not contain animal abuse. As an owner of three dogs, three cats, one tortoise, an amazon parrot, a parakeet, two fish, a hamster, a guinea pig and even a rooster we rescued from train tracks last year after it miraculously survived passing cars I am unable to deal with films that do. That is NOT what this film is about actually, but if and when you see it you’ll readily agree. I remember that scene in The Strange Love of Martha Ivers. I have not seen A NICE LITTLE GIRL LIKE ME, but have seen and like HAVING A WILD WEEKEND which I own on DVD. Wonderfully melancholic road movie featuring a group I dug growing up. As to Mary Jane Higby looking like Mamie Eisenhower I must look online to render an opinion. But I join you in issuing kudos to TCM for showing those two outstanding films!! Happy Thanksgiving!
Not suggesting that HAWW is a mod bauble or insignificant fluff. What begins as a jape deepens into themes of disillusionment and the merchandising of youth culture. And like the Bergman pic HAWW is a journey film full of bitterness and reproach. Barbara Ferris is a delight, swinging like a pendulum do, but she’s no Ms. Christie in Darling (or Petulia). Julie C. is the gold standard of 60s chic.
Beautiful capsule. I do agree across the board, especially on Julie Christie as the “gold standard of 60’s chic.”
I’ve been wanting to see Lean on Pete since I first heard about it. Your declaration makes me want to see it even more now!
Ah David, I can’t tell you how thrilled I am to hear that!. And subsequently receiving your glowing report made my day! Hoping you may review it and thank you!