Woody Harrelson’s Performance in Rampart is Well-Worth the Price of Admission, and Quite Possibly Saves an Otherwise Go Nowhere Film

Posted on February 9, 2012 by admin

In case you haven’t noticed, Woody Harrelson has developed into one of today’s finest actors, and in Rampart he really puts to the test his stunning ability with a robust and charismatic performance that will undoubtedly command your complete attention. The role itself is well defined and rigidly structured, but what Harrelson brings to this performance of a corrupt Los Angeles cop facing his comeuppance is an intriguingly nuanced and complex character study of a completely amoral man. From the first frame to the last, Harrelson is a pure pleasure to watch as he adeptly carries the burden of a thoroughly unpleasant yet charming personality who learns nothing from his mistakes. His place in the world alters drastically he knows, however, ultimately he remains the same. And that is the only real problem with the film: the main character does not change.

Set in the near past of 1999 Los Angeles, veteran police officer David Brown (Harrelson) is portrayed as the last of the renegade cops of the nefarious Rampart Division. Not directly associated with the department’s main scandal, Brown faces an investigation of his own after being caught on tape using extreme, unnecessary force. Although he is undoubtedly a troublemaker with a questionable past (the murder of a rapist may or may not have been in the line of duty), Brown initially appears to be a working guy trying his best to take care of his emotionally estranged family, when he is suddenly placed in the position of having to struggle for his own survival. However, any initial geniality allotted the character via Harrelson’s past on screen personas (Woody from Cheers) is quickly wiped away as his officer Brown attempts to womanize everything in his path (including two ex-wives), plans a robbery, attempts to hustle the investigators assigned to his case, and obsessively tries to control the remnants of his strange family life. Even when it becomes quite clear that Brown is at the end of the line, he just doesn’t face up to the facts, resolving nothing.

Many things happen to Brown during the course of 98 screen minutes. However, his character doesn’t seem to be altered by any of the potentially life changing events. And this may be a huge problem with most audiences, because if the main character doesn’t change there is a risk of the viewer feeling as if nothing happened during the course of the movie. There’s certainly plenty going on all around Brown and to him, but the vague and inconclusive ending leaves a lot unsaid and certainly undetermined. It’s actually a pretty brilliant shot devised by director Oren Moverman (The Messenger) and cinematographer Bobby Bukowski (Dog Fight, The Messenger). I don’t want to give too much away, but it’s incredibly similar to the stunning final shot of an old 1932 film with Paul Muni, I am a Fugitive from a Chain Gang. Sensational title aside, the last image in this classic film is nearly identical to the one in Rampart and leaves the audience with the same sense of uncertainty for the hero’s fate.

Of course, the ending of the Paul Muni film was the result of a series of events that led to a radical change in the character’s personality, concluding with a sensational ending. By comparison, there is no final catharsis in Rampart. But then, modern audiences may not care that officer Brown exhibits no alteration as a result of his journey. The film provides a satisfying ride, full of titillating situations and tense drama performed by an impressive cast that includes Robin Wright as a criminal attorney uncontrollably drawn to Brown’s magnetism, Sigourney Weaver as a police department representative who’s trying to get Brown to see the dead end sign of his situation, Ice Cube as one of the investigators assigned to bring him down, Audra McDonald as one of many one-night stands, Cynthia Nixon as one of two sisters who are ex-wives, Ned Beatty as a retired cop with questionable motives, and Steve Buscemi in an unusually small throwaway role of a government official bent on cleaning up Rampart at all costs.

And then there’s Harrelson. As Officer David Brown he gives one of the most visceral performances of a dirty cop ever brought to the silver screen (including turns by Harvey Keitel and Nicholas Cage in the two Bad Lieutenant movies). It is a character that is so entrenched in his ways that he simply refuses to go along with the rest of the world around him. And perhaps that is the point. Since Brown will not adjust to a changing environment he must go the way of the rest of the corrupt police department, which has been left behind by a progressing society. It’s a sticky trick to pull off: purposefully stunting the lead for the sake of the story. However, it’s not so much of a challenge when you have some like Harrelson performing the illusion. In Rampart he proves beyond a doubt that he’s got the talent to pull off any feat of acting ingenuity.

Rampart, a Film by Oren Moverman opens Friday, February 10th at The Landmark Theatre in Los Angels, and the Pacific Arclight in Hollywood.

February 17th the film goes can also be seen at the Laemmle Noho 7 in North Hollywood, the Century Downtown 10 in Ventura, the Century Stadium 25 Theatre in Orange, the Century 20 Bella Terra in Huntington Beach, the University Town Center 6 Cinemas in Riverside, and the Century at the River 15 in Rancho Mirage.

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Two Cinephiles Chat About Movies…

Posted on February 2, 2012 by admin

My sister, Cecelia Specht and I see each other about once a week. She usually stops by while I’m working on a post for this blog, or my website, ClassicFilmSchool.com. Inevitably we start talking about what I’m writing and that usually leads to one tangent and then another about films, old and new. Our conversations tend to cover a broad spectrum but the topic almost always remains centered around movies, the industry, the people in it, etc. Although we share the same appreciation for films we have two unique perspectives, as my actual work experience has always occurred behind the camera and since she’s an actress her work has occurred mostly in front of it.

I have always found these conversations to be entertaining and have thought to retain a record of them so that I could share them. Sort of in the same way people once saved letters in order to keep a record of their favorite correspondances. I now have. In this first publicly posted conversations between the Specht twins (I’m older by 7 minutes) we talk about an upcoming pubic appearance by recent Academy Award nominee Max von Sydow, other Supporting Actor nominees, past Oscar tie winners, Ingmar Bergman, Woody Allen, Lionel Barrymore, Victor McLaglen, we also theorize on why there are 9 Best Picture nominees this year and not 10, and of course we mention our favorite living Best Supporting Actor winner, Martin Landau.

Sorry to say my sister is unusually quiet here, so you may have to turn up the volume.

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Kill List Is Less Than You Think

Posted on February 1, 2012 by admin

I’m sorry to say I had high expectations before going to see Kill List. I’m sorry because my expectations were not met. Which is too bad because the film deserves more consideration for what it does accomplish rather than to be remembered for what it does not. However, this is difficult when the very cool looking movie poster promises a gut-wrenching-hit-man-thriller. Unfortunately, the film does not live up to this hyperbole. Which is sad, because without knowing the hype one could actually enjoy Kill List for its actual merits, such as an unusual story full of interesting surprises that catch you off guard like a well-placed punch to the arm. It won’t leave you reeling, but it definitely leaves you with an unsettling feeling after you leave the theater.

One of the big faults to Kill List is that the first twenty minutes or so deals with some rather boring and mundane problems of a small family living in the suburbs of England. Apparently the man of the house, Jay has had problems with his job and is having difficulty getting back to work. It’s a nice twist when you discover what it is he does for a living, but then you already suspect that from the movie poster, so the twenty minute build up falls incredibly flat. The intriguing concept of a hit man having problems getting back behind the trigger works well on its own, and an audience who is in the know is anxious for the rest of the promotional promises to be fulfilled. Bring on the gut-wrenching chills already!

Those chills previously referred to don’t arrive until the story really begins to take shape when our “hero” finally goes back to work. It seems that Jay (Neil Maskell) is very good at his job, but has a tendency to go overboard on thoroughness. This places his best friend and colleague, Gal in the uncomfortable position of being the voice of reason when things begin to go terribly wrong due to Jay’s inability to restrain his penchant for extreme violence. Gal, played by Michael Smiley (whose performance is the highlight of the film) does his best to contain Jay, but each kill from the assigned list is more brutal than the last, escalating into a veritable blood bath.

The most interesting and unexpected twist comes when the partners are camping out on the estate of their final target. I don’t want to give anything away, but it’s really quite strange and causes the movie to take an abrupt, if not jolting left turn into horror. It’s a turn that has been set up much earlier in the story through Jay’s home life as well as within the environs of his current employer, but the indications are so subtle it’s impossible to make any sense of them ahead of time. I believe this is meant to be part of the mystique of the film, but I found these moments to be distracting since they happen long before the movie has made its transition into its final form.

In the end Jay is forced to face his personal demons in a very real and tangible way that results in a confrontation that is unthinkably cruel. And although the ending is imaginative, it isn’t in the least bit surprising as the scenario is predicted long before the final conflict. Ultimately Kill List falls short of its ambitious intentions. For all its shocking violence and unusual plot devices it just doesn’t add up to the gut-wrenching-hit-man-thriller it so eagerly wants to be. Which is too bad, because if it had just tried to be an interesting story about a stressed out hit man trying to get his groove back who turns violence into an art, I think I could have really enjoyed it.

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Three Cinephiles Walk Into a Bar…

Posted on January 31, 2012 by admin

The Real Dick Hollywood of DickHollywood.com, Carrie Specht of RetroSpecht.com and Ruben Padilla of Ruben’s Reviews often get together and talk about movies. Old stuff, new stuff, it doesn’t really matter, cause we usually have no idea where we’re going or how we’re going to get there. However, we are always amusing.

So, finally one of us decided to record one of our conversations and here it is. I particularly like the sometimes-edgy hostility Dick Hollywood has toward Ruben, but I can get a little biting as well. I guess we all enjoy it because we keep coming back for more. Then again, that might have a lot more to do with the drinks being served.

We tried to come up with a clever title for our conversations, like The Cine Files, or Cinemaphiles, but it seems that there are other clever people out there that beat us to it. We’re open to suggestions if anyone wants to give it a shot, but until then we are Three Cinephiles Walk Into A Bar… Any way, here’s the first in what we hope will be a continuing series.

 

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Extremely Loud and Incredibly Close Has Great Appeal, But Check Your Expectations

Posted on January 20, 2012 by admin

Although many will regard Extremely Loud and Incredibly Close as a so-called “911” movie, I think that definition misleads the audience into expecting something completely different than what this film sets out to be. Rather than attempting the monumental task of representing the grand scope of the September 11th tragedy through one perspective, the story here is presented as a personal tale of loss that was a result of that day in 2001. This exceptionally well-crafted production actually uses the 911 event as a backdrop of senseless sudden loss in order to explore the impact of one parent’s effect upon a child even after that parent is gone, and the difficult transition that child must make to a life void of that parent’s guidance.

In the film we learn early on that nine-year old Oskar Schell (Thomas Horn) is an unusual child. He seems to be exceptionally intelligent and well educated for his age. However, this point is a bit exaggerated by acclaimed director, Stephen Daldry (the only director to receive Oscar-nominations for his first three movies Billy Elliot, The Hours, The Reader). Daldry has the inexperienced, but able young actor go a bit overboard in his attempt to demonstrate that Oskar is eccentric.

In fact, his quirky charm sometimes comes off a bit too odd; causing one to suspect Oskar may have some form of Asperger’s Syndrome. This could be an interesting aspect to the character, but it feels that this quality is relied upon to excuse moments that would have been handled with greater agility by a more experienced actor (the scene that involves an outburst at a locksmith company was most annoying). Surely, this is a demanding role, one that is a lot to handle even for the seasoned child actor. Unfortunately, the weight of such a responsibility is an expectation that is seldom fulfilled, and in the case of Extremely Loud and Incredibly Close the results fall short.

And casting Hanks to fill the role of an incredibly attentive parent almost works against itself. His persona precedes itself, and once again presumed personality is relied upon to fill in the gaps that might have been left void by a lesser-known actor. Similarly, an underutilized Sandra Bullock brings with her personal presence a whole lot of understanding of the mom without that character actually having to do very much. Sometimes specialty casting works very well, but in this case I felt cheated out of getting to know the mom for her own merits. There is a watershed of information near the end of the film, but I would have liked to know her a lot earlier if I was going to empathize with her motivations (or seeming lack of) when Oskar first makes some important decisions.

The beginning of the film is well told in flashback where we are shown that Oskar and his father regularly engaged in complex and challenging games. Some were purely mental, while others were designed as outdoors adventures meant to engage Oskar with the outside world (a skill that does not come easily to the socially awkward child). These scenes are full of fun as we watch a particularly attentive father (an almost too endearing Tom Hanks) interacting on all cylinders with his child. Together the two apply Oskar’s intense dedication to creative and structured treasure hunts.

However, life as Oskar knew it came to an abrupt end as a result of his father’s untimely death at The World Trade Center. And now, as the initial effects of the tragedy are still fresh, the boy comes across a key he believes his father meant for him, and him alone to find in order to fulfill one last elaborate adventure, one that compels him to search for the lock that matches the mysterious key. This is when the meat of the story takes shape and all the endearingly charming, feel-good moments championed in reviews takes place. We see just how imaginative Oskar can be when he deduces the scrawling of the name “Black” to mean the name of the possessor of the lock. So, Oskar (unable to relate to his mother the way he did with his dad) secretly sets out to systematically meet everyone in NYC named Black in order to fulfill the quest.

Now, as someone who has lived in NYC the idea of a child going door to door in Manhattan is outrageously scary, and Bullock’s character initially appears to be a little too disinterested in her young son’s unusual comings and goings (however this is explained satisfactorily in the end). But as an adult remembering the thrill of childhood escapades, the prospect is immensely appealing. Although I was distracted by the unrealistic act of everyone accepting this determined child into their homes, it is a lot of fun watching Oskar interact with the many diverse people he would otherwise never have known, even if many of these encounters are portrayed with exaggerated sentiment by bit players who are obviously inexperienced actors.

Of course, the amateur performances would not be as noticeable if they did not bear such stark contrast to the quality of the more substantial roles. Besides the work of Hanks and Bullock, the incomparable Max von Sydow (The Exorcist, Hannah and Her Sisters) provides an Academy Award worthy performance as an elderly mute recluse who aids Oskar along his journey. It is a marvelously nuanced performance created by an experienced actor who says far more with the glance of his eyes than any words could ever hope to convey. The ever-reliable John Goodman also makes an appearance in a throwaway role as Oskar’s doorman, and Viola Davis and Jeffrey Wright have small, but pivotal roles as two of the people Oskar meets.

Towards the end of the film many secrets are explained and it becomes clear that as he searched for answers Oskar was himself a catalyst for healing. For all the people he encountered on his journey he provided an opportunity for them to contribute to the rebuilding of a damaged city. This is why it was necessary to include the events of 911 as a backdrop. It provided a realistic situation for the citizens of a metropolis to not only be open to the idea, but eager to help a stranger, especially one so directly affected by the tragedy.

There are plenty of aspects to like about Extremely Loud and Incredibly Close, but with its few shortcomings I wouldn’t set your expectations too high or you’re bound to be disappointed. And although the message of this film is a universal one suitable for all ages, and a boy plays the central character this is not a children’s film by any stretch of the imagination (not that the filmmakers intended it to be). So, please, understand the film is rated PG-13 for emotional thematic material, some disturbing images, and language, and use caution when deciding who in your family should join you for a trip to the movies. Under the right circumstances and with the right audience you’ll be sure to enjoy yourself.

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RetroSpecht.com Top 10 Films of 2011

Posted on December 31, 2011 by admin

Following tradition, I have created a list of my favorite films of the year for 2011. I suspect that there will be some films on the list you have never heard of, let alone seen. In that case I highly encourage you to seek these films out, either through NetFlix, imdb.com, or Google. Some are already available on DVD, while others may not have been released yet in your area. The Forgiveness of Blood, for instance is not due to hit theaters until February, but since I saw it at the 2011 AFI Film Festival I am including it on my list for this year. I welcome your comments. In fact, if this list doesn’t inspire some lively discussion I will be very disappointed. So, bring it on!

1) The Girl with the Dragon Tattoo: I never read the book, or saw the original Swedish film adaptation of the highly acclaimed novel (I know, I know). Which I think gave me an unbiased impression of the American production. It was a wonderfully produced thriller/mystery, executed to perfection in every way. I predict the film will be nominated for an Academy Award for Best Picture (which it may actually win), as will Rooney Mara for Best Actress, and Trent Reznor for the music. If you haven’t seen it yet, I recommend that when you do, just sit back, relax and enjoy. Some fans of the original hesitate to give credence to this remake, but that’s selling short a fine film that deserves praise in its own right.

2) The Artist: Although this film is in danger of being over-hyped, I can’t help but join those who have hailed The Artist as one of the best movies of the year. Yes, it’s actually a silent movie, but don’t let that dissuade you. You really won’t notice that much. It’s used to great advantage to tell the story of an artist who suffers through the challenge of Hollywood’s transition to sound. And it’s in black and white, but you won’t really notice that either as both devices only serve to enhance the atmosphere of the story. And if you know anything about the stars of the era, you’re going to absolutely love the last scene in the movie when the only words of the film are spoken.

3) Brighton Rock: Oddly, I haven’t heard anybody talk about this film at all, let alone include it on a top ten list of the year. Did nobody else see this film besides me? It is an absolutely gorgeously shot film in the style of a classic noir, but in rich saturated colors. Sounds like an oxymoron, but in this adaptation of the Graham Greene novel the noir sensibility is represented in execution and atmosphere. A hard-edged Helen Mirren at the top of her game leads the superlative cast in a role that is not to be missed. Let’s just say that Mirren proves that sexy is not an age, but an attitude. And in Brighton Rock, Mirren is loaded with attitude.

4) The Descendants: Once again, Alexander Payne lives up to his well-deserved reputation. The acclaimed director follows up Election, About Schmidt and Sideways with a delightfully subtle comedy about the difficulties of family, in all its forms. With its popularity it’s likely you’ve discovered the pleasures of this film for yourself. But if you haven’t yet, I recommend it for a New Years outing suitable for the family. After all, it’s always good for people to see the faults in other families in order to accept the oddities of their own. This could be a refreshing way to start the New Year off right.

5) Drive: Yup, I fell in love with this taught heist film as much as the next popcorn munching moviegoer of 2011. And yes, it lives up to the hype. Reminiscent of the flashy, stylized films of the 70s, Drive is a well-crafted suspense story with a strong plot balanced with just enough action. And just like the films in which it aims to pay homage, when things turn violent, they turn very violent. This film should garner some Oscar attention, particularly a well-deserved nomination for Albert Brooks in a role like you’ve never seen him before.

6) Beginners: Although this film came out relatively early in the year, it has remained in the consciousness of many reviews as one of the best of 2011, and for good reason. In addition to being a lovely and touching story about a man coming to terms with his father’s homosexuality, Christopher Plummer gives one of the best performances of the year as that father. If there is any justice in the world, Plummer will finally receive a statue come Oscar time.

7) A Better Life: I’m guessing you’ve never heard of this film, and that’s really too bad. A Better Life is an unusually universal story of family and financial struggles in America, focusing on the very real problems of an immigrant father. I particularly liked the way the teenage son was represented. It was fascinating to see how his Americanization, a thing his father sought, was literally pulling him farther and farther away from his parent and the traditions of family. Truly impressive is Demián Bichir’s performance as the father. It is a loving, and touching representation of a selfless parent unmatched by any other I have ever seen on screen.

8 ) The Forgiveness of Blood: This is another film you haven’t heard of, but I’m betting that by this time next year you will. The Forgiveness of Blood was for me one of the highlights of this year’s AFI Film Festival. Shot entirely in Albania, using local talent, director Joshua Marston once again brings to the screen a story unfamiliar to the lexicon of the average American, but one that will undoubtedly resonate with the viewer long after its inevitable conclusion. I particularly encourage those with teenagers to see this film with their kids, as it will give the parent and child a better appreciation for the simple problems of their own relationship compared to those in this tale.

9) The Tree of Life: I know a lot has been said about The Tree of Life, in praise and otherwise. However, strange dinosaur/evolution footage aside, this is a very good film, and oddly enough another one concerning the complications inherent to family life. Brad Pitt gives his finest performance to date as a complex father full of contradictions. He is wonderfully subtle in his presentation of a man who is just as tenderly loving as he is coldly unapproachable. This is the film of 2011 that will stay with you for a very long time.

10) The Other F Word: Unless you’re a documentary fan it’s likely you missed this gem of a film. All about Punk Rockers and their foray into parenting, the other F word in this case is fatherhood. At times this brilliant exploration into the private world of alternative rock’s iconic front men is as achingly funny as it is tenderly heartbreaking. The Other F Word proves that when it comes to family, the most anti-establishment individual can be just as loving and giving as the average dad down the street. In fact, he just may be the dad down the street, just as active in PTA meetings and daddy/daughter dances as the next guy. He just looks a little different. By far, The Other F Word is one of the best examples of never judging a book by its cover as I have ever seen. Every father, and every one with a father will enjoy this film, and leave with a better understanding of what it means to be a parent.

So there you have it. The RetroSpecht.com Top 10 Films of 2011. As I read through the list once again I see the theme of family returning again and again. Who would have though that in this day and age audiences would still be interested in such a standard theme. Or maybe it’s just me. But I don’t think so, and I am very glad to see the subject used to such wonderful and varied effect.

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Guidelines for Being a Good Audience Member

Posted on December 28, 2011 by admin

It’s the holidays! And to paraphrase a popular seasonal song, it’s that time of year when the world falls in love with going to the movies. The kids are home from school, workdays are shortened, and lots of people are on vacation. It’s the ideal situation for catching up on all the films flooding theaters in preparation for Hollywood’s own favorite time of year: the awards season. So with so many people packing the theaters I ask you, as a fellow movie watcher, to remember a few common courtesies that will help keep the season bright for one and all.

I’m sure that you need no reminder of how to behave properly in a movie theater. However, you may find this list handy to share with your friends and family members. Ideally this list would be posted at the entrance of a theater, or handed out with the purchase of a ticket, but until that day comes we shall have to lead by example, and let it be known that some behavior, while perfectly acceptable in the privacy of your own home is best left there and is inexcusable in a public movie theater.

1) Don’t Talk:  This would seem to be an obvious statement to make, but we all know that people do it. I don’t care what the reason is it’s just plain inconsiderate to those around you. This includes talking during the opening titles. It may be no big deal to you, but the opening titles are a time to draw an audience into the mood of the picture. That’s difficult to do if people are talking. Far more annoying are the people who find it necessary to express out loud their thoughts during an important moment in the plot. It’s usually something that everyone in the audience is realizing at the same time. And since the filmmaker didn’t think it was necessary to provide an explanation in voice over, I don’t think anyone else should either.

2) Don’t Eat Like a Cow: I know it’s common to have a big bag of popcorn, some candy, or even a hot dog while watching a movie, but is it necessary to constantly shovel food into your mouth and then proceed to eat in a fashion you wouldn’t normally subject another living soul. We’re all aware of basic table manners. We should do our best to use them whether or not we’re actually at a table. This concept extends to drinks as well. I can forgive the accidental slurp of the straw, but when a drink is done, it’s done. Please remember the concession stand is only a few hundred feet away. You are not in the middle of the desert in danger of dying of thirst, so please don’t act like your life depends on getting that last drop from the bottom of the cup.

3) Don’t Fiddle Around with Wrappers: Just as eating makes a lot of noise, so does unwrapping the food. It’s a simple thing to resolve; just open all wrappers before the movie starts. Worse case scenario, and you’ve forgotten to break open the cellophane ahead of time – unwrap quickly. Nothing appears to be noisier than someone trying to open a wrapper slowly and quietly. It only prolongs the agony. Just like the guillotine; a quick smooth movement is much less painful for all those involved.

4) Don’t Chew Gum: Chewing gum in general is considered to be a rude habit, particularly since these days most people are incapable of chewing with their mouths closed. And unless you are a cow on a farm, there is no excuse for sounding as if you have cud in your mouth. The same goes for chewing the ice from your drink. Both are impossible to do without making noise that is disruptive to others. Remember, you are sitting in close proximity to others, far closer than you normally would to a total stranger. Would you want to listen to them incessantly chewing?

5) Don’t Press Your Feet into the Chair in Front of You: It’s bad enough when people place their feet atop an unoccupied seat as if they were at home in a lazy-boy, stretching out their cramped legs. But it’s unforgivable to press any part of your appendages into the back of another person’s seat. You wouldn’t do it to someone driving a car, would you? You apologize when you knock the back of a seat in an airplane, don’t you? So wouldn’t you think it likely to be very distracting to someone trying to give their undivided attention to a movie? The same can be said to those who switch crossed legs. Not an offense in itself, but please make an effort to avoid knocking the back of the chair in front of you when you do it.

6) Don’t Bring Infant Children to the Movies: Again, this seems like an obvious no-no, but it’s done more and more often, particularly when one considers the cost of a baby sitter added to the growing expense of theater tickets. But everyone else in the theater paid to see a movie. Why should they have to sit through the disruption of a child incapable of controlling their own behavior? I actually think it’s partly the theater’s responsibility to discourage parents from such a practice. Some theaters have special days and times set aside as Mommy/Daddy screenings where a parent can bring a child and the fellow moviegoers are already aware of the likelihood of disruption.

7) Don’t Sit Directly in Front of Someone If Avoidable: Most theaters theses days have raked seating, and stager the rows for optimal viewing for all audience members. To that end it’s up to us to seat ourselves intelligently. It’s understandable if a theater is filled to capacity and there are no other options, but to purposely sit directly in front of another patron when there are plenty of other seats available is just plain inconsiderate. And remember, that if the person you sit in front of is forced to move because you’re too tall, too loud, or otherwise obtrusive, they just might move to sit right in front of you.

8 ) Don’t Spread Your Germs Around: There was a day when everyone carried a handkerchief, and adults always had a cough drop, or a lifesaver. You know, something they could suck on if their throat got dry. But it seems that these days it’s extremely common for someone to sniffle, sneeze and cough their way through a feature film. Meanwhile, not only are they disturbing fellow audience members, but they are exposing the entire audience to whatever bug they brought with them into the theater. If you have to go to the movies when you’re in less than perfect health, please be prepared. Better yet, just stay home until you feel better and we’ll all be better off.

9) Don’t Use Your Cell Phone, Period: It seems that moviegoers have made some progress regarding cell phone use in the past ten years. It’s actually been a very long time since I last heard the ring of a cell phone in a movie theater. However, I can’t remember the last time I made it all the way through a film without seeing the glow of a cell phone screen. Somehow, many people ludicrously believe that checking to see whose call they just missed is acceptable behavior. Let’s make it perfectly clear that it is not. The only screen anyone should be watching in a movie theater is the big screen used to present the movie. And by no means is it ever all right to text! If what you’re doing in life is so important that others must be disturbed by your communication then get up and go outside. You’re not paying attention to the movie any way, so why not be considerate of those who are and come back when you’re done updating your busy life.

10) Don’t Be An Ass: If someone should catch you breaking one of these rules and asks you to stop, please be gracious enough to stop the offensive behavior. I was very impressed with the conduct of a young woman recently. She had been talking to a friend in a very animated conversation, and even though the lights had gone down, and the credits had begun, she continued as if she were not prepared to stop. Someone nearby very succinctly asked her to be quiet. She was noticeably embarrassed and apologized. More importantly, she didn’t talk the rest of the film. This is a far cry from the time when someone responded to my similar request with abject rudeness and a threat of physical violence. Obviously, most reactions are not as militant. But, most people naturally respond negatively to criticism of their personal behavior. It’s not necessary to apologize, but there’s no need to go to the other extreme either.

I don’t think any of the above rules are unreasonable. Although, I do understand it may be a lot to expect from a modern movie going audience. After all, it’s a known fact that the nature of film audiences have changed over the years, and will continue to do so as movies and how we view them expand beyond the scope of today. Home movie watching has had a noticeably adverse effect on the general behavior of audiences, and it seems that online streaming, and a virtually inexhaustible access to media through a plethora of personal devices will inevitably continue to contribute to this phenomenon. The result is the loss of a unique cultural event, and the transformation of what was once an ideal group experience into a battle for personal space. But in the meantime, if we can manage to adhere to some rules of common courtesy, then we can all enjoy a great American pastime without getting on each other’s nerves – at least for 90 minutes or so.

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Outrage, The Latest Yakuza Film From Takeshi Kitano, Is Not To Be Missed By Any True Fan of the Genre

Posted on December 1, 2011 by admin

Anyone who is a yakuza movie fan will love Outrage, the latest US release written and directed by Japan’s legendary Takeshi Kitano (The Blind Swordsman: Zatoichi, Brother, Violent Cop). Besides being a fine example of the ultra violent Japanese mafia genre, Outrage features the director, also acting on screen utilizing his trademarked, stone-faced personae to maximum effect. One only wishes there was more screen time with “Beat” Takeshi’s hardened veteran of the gangland world and less time spent on the many peripheral and less interesting characters. In fact, the one fault of the film is that there are too many other gangsters to keep track of. But in this tale of power struggles and petty vengeances, fans are likely not to notice. The true yakuza movie devotee will revel in the abundant number of revenge killings and inventive deaths as the full blown yakuza war leads to its inevitable end.

True to form of any crime organization, Outrage focuses on the constant struggle for power: who has it, who wants it, and who can get it. As expected, it is a ruthless battle as clan leaders all vie for the favor of the most powerful family in the Japanese underworld. These rival under bosses seek to rise through the ranks by scheming and making sworn allegiances, regardless of the legitimacy of their oaths. Betrayal is constant and vengeance expected, as the never-ending struggle plays on to see who ends up on top. However, in this corrupt world there are no heroes, just a whole bunch of bad guys spiraling out of control until the struggle for power becomes one of mere survival with very few winners.

Rated R for violence, language, and brief sexuality, Outrage is presented in Japanese with English subtitles, but don’t let that dissuade you from seeing this powerhouse piece of cinema. The film has already played to great acclaim at the AFI and Cannes Film Festivals in 2010 and the Palm Springs International Film Festival this year. Along its celebrated run it has caught the attention of such critics as Maggie Lee of the Hollywood Reporter, who exclaimed that Outrage “bursts with direct cinematic power”… with, “humor as mean and dry as a straight-up martini”. And Rob Nelson at Variety called Outrage, “visually stunning. A beautifully staged marvel that confidently reasserts [director] Kitano’s considerable cinematic gifts”. I’d have to go along with those assessments, especially the one about the humor, which at times is so dry you’ll wonder if you really should be laughing or not.

Although the film may be a challenge to those unfamiliar with the yakuza style of movie or the director, I can’t emphasize enough how well Takeshi serves the genre. I first discovered his work when I saw an earlier film of his, Fireworks, at a film festival in 1998. I remember I was blown away with the amount of information Takeshi was able to convey with such straightforward performances and carefully crafted shots, utilizing very little movement from either the camera or the actors. There was clarity of intention present in every frame. After seeing Outrage, I was pleased to see that this ability has not waned over the years and I enjoyed the film for what it is and intended to be – a sold yakuza film. With that in mind, I am sure you will not be disappointed.

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The Other F Word, A Touching Documentary on Punk Rock Fathers, Opens Friday, November 4th

Posted on November 3, 2011 by admin

The Other F Word is an insightful, funny, and often ironic tale of the traditional role of fatherhood seen through the eyes of the modern day icons of anti-authority – punk rock musicians. This very candid look into the every day lives of the punk scene’s living legends and their relationships with their offspring offers more than just a humorous take on the contradictions of play dates and mosh-pits. It gets to the very idea of fatherhood itself as the subjects of the film hold nothing back, revealing some complicated and emotional truths about their own fathers and what it means for the men of Generation X to be fathers themselves, punk or otherwise.

One of the things I like most about this film is that its style does not overshadow the subject. Told in a very traditional documentary manner, The Other F Word does not try to reinvent the genre, but holds fast to the standard tools of the documentary. Vintage footage is used to great effect to indoctrinate the unfamiliar, talking head interviews provide a previously inaccessible intimacy to the punk heroes of yesterday and today, and on-the-road, day-in-the-life concert shots of Jim Lindberg (the lead singer of Pennywise whose most recognized song is “Fuck Authority”) epitomizes the contradicting demands of family life and a world tour.

Most importantly, the filmmakers didn’t just scratch the surface, but reached out to some of the most recognized leading men of punk rock, including Blink-182′s Mark Hoppus, Red Hot Chili Peppers’ Flea, Rise Against’s Tim McIlrath, Art Alexakis (Everclear), Mark Mothersbaugh (Devo), Tony Adolescent (The Adolescents), Fat Mike (NOFX), Lars Frederiksen (Rancid), skater Tony Hawk, and many others. The stories these men tell of heartbreak and sacrifice, obstacles and challenges, and of just plain old everyday life, are as touching and loving as any I’ve heard from the most endearing and scripted Hollywood tale. One particularly poignant aspect running throughout the film is how much these men strive to be better fathers than their fathers were to them. This is a rather telling characteristic of those who have lashed out against authority and now find themselves to be the authority. It shows they were more than just angry young men, they wanted more, and now they are in a position to fulfill that need in their own kids.

To that end, these guys are attempting to be the hands-on fathers their dads either couldn’t, or wouldn’t be. Which is even more of a challenge today than it was for their dads considering the demanding world of music. Traditionally, fathers are gone all day making a living. But musicians obviously work differently, and they work a lot differently today than they use to. The Other F Word does a good job of laying down the facts that music just doesn’t pay like it use to through product sales. The money is in the concert tour. So for musicians, making a living means being on the road. The irony is these guys who want so much to be there for their kids have to be away from home, not just from nine to five, but for months in order to provide for their families. And that’s where the subjects themselves come to a better understanding of their own fathers, if not an all out forgiveness.

Easily my favorite documentary of the year, and likely one of my top ten favorites overall, The Other F Word managed to effect me in a way few other films ever have regardless of the genre. Not only did I leave the theatre with an infused appreciation for the modern day dad, but I also emerged from the experience with a broader tolerance for those with lifestyles different from my own. One particular scene of a hard-core looking guy taking his adorable little tot to the park reminded me of the tough looking men I know. Most are regular guys, but because of their appearance, I wouldn’t want to approach them if I didn’t already know them. But given the chance, tough guys are just as capable as anyone of the unconditional love required of good parenting.

Trust me, whether you’re a father, have a father, or know a father you’re going to enjoy this film, and more than likely walk away with a greater affection for all men who live up to that title.

Opening weekend of The Other F Word starts this Friday, November 4th at the Landmark Nuart, 11272 Santa Monica Boulevard, in Santa Monica right at the edge of the 405 Freeway. Q&A’s are scheduled during the weekend, including Saturday night with Mark Mothersbaugh of Devo, Jim Lindbergh of The Black Pacific (formerly of Pennywise) and Art Alexakis of Everclear. With this kind of a lineup don’t be surprised if there are some unscheduled guests that pop up as well.

To view the trailer just go to http://youtu.be/zZkWHZ3hJtY.

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Ryan Gosling is the Ideal Neo-Noir Hero in Drive

Posted on September 16, 2011 by admin

Noir or Neo-Noir, what’s the big difference? Well, a lot more than just color or black and white photography. But the key element of a mysterious, yet sympathetic man caught up in events beyond his control is an essential factor in either case. In Ryan Gosling’s new film, Drive the young actor fulfills the personification of this description and demonstrates a more mature, and nuanced approach to his craft as he takes on his most challenging role to date. I don’t think it’s too much to say that Gosling in Drive can be compared favorably to Robert Mitchum in Out of the Past and Richard Gere in American Gigolo. In short, Gosling is Noir’s latest troubled hero.

I saw Drive at this year’s Los Angeles Film Festival, and I was very impressed. Not only does the film offer an amazing cast in roles as they have never been seen, but it offers a modern spin on a dated genre. I’m not talking about the heist film, but the Noir, or more specifically, the Neo-Noir. Although the previews would have you believe otherwise, the reality is that anyone going into Drive expecting an action packed heist film full of car chases and violence will be woefully disappointed.

Drive does have some pretty exceptional moments of action, and there are scenes of sudden and shocking violence (Christina Hendricks’ bathroom brawl will evoke memories of Patricia Arquette in True Romance). However, the thrust of the film is placed upon Gosling’s relationship with a married young mother and his honorable desire to keep her safe. It is this story full of sexual tension, palpable angst, and unfulfilled desires (physical and otherwise) that you should expect to see when the lights go down. Then your expectations will be satisfied rather than short changed, and you’ll undoubtedly enjoy the bonus of surprise twists (of which there are many) regardless of the level of violence.

The exceptional cast includes Carey Mulligan (An Education, Wall Street: Money Never Sleeps) as the woman of interest. Her demure, yet intense performance of an earnestly conflicted woman is overshadowed only by the powerhouse portrayals provided by the rest of the ensemble. Bryan Cranston (Malcolm in the Middle, Breaking Bad) offers a unique spin on a sidekick who acts as Goslings connection between the life of a stunt driver and the life of a getaway man. Yet even more surprising is comedian Albert Brooks (Modern Romance, Defending Your Life) playing a vicious crime boss bent on retrieving some stolen money and flexing his authority in the process. Brooks’ Bernie Rose is nothing like anything you’ve ever seen him do before, and undoubtedly there will be plenty of Oscar buzz around his bravado performance. The Academy should take notice and give Brooks a well-deserved nomination for Best Supporting Actor.

The film as a whole lives up to the expectations of a modern, or Neo-Noir due in large part to a well-executed story (based on a book by James Sallis) helmed by a bright young voice, (director Nicolas Winding Refn) and Goslings’ pitch perfect performance. I would have never thought that a blonde, blue-eyed man could have pulled it off, but having seen the film I’m definitely a believer. Gosling’s Mitchum-esque mystique combined with his Gere like sexuality ensures him a well-earned place among the memorable men of Noir, neo or otherwise.

To listen to a roundtable discussion with Ryan Gosling just follow this link to the www.dawsbrothers.com/ and scroll down to the bottom of the Drive article. The interview between Gosling and eight others including myself was recorded September 7th at the Four Seasons Hotel. Gosling discusses his latest film and gives a glimpse into what’s coming up next in his busy career.

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