Posted in: Disc Reviews by Gino Sassani on February 27th, 2009
I get worried when I see box art make claims like they have on the recent release of Dorothy Mills. It claims that this film is a contemporary take on The Exorcist. The problem is that we don’t really need a contemporary take on that classic film. It’s a bit pretentious and arrogant to think that this low budget affair can come close to reproducing what that film did back in the 1970’s. Why can’t the folks who make these kinds of films allow the film to stand on its own and aspire to something unique and exciting for its own merits? Fortunately the box art is just marketing hype, probably written by some advertisement executive who never actually even saw the film. This isn’t The Exorcist, nor does it actually try to be. Truth be told, the film doesn’t play out like your normal run of the mill possession films at all. It has a rather clever angle that might be more Sybil than Exorcist.
Posted in: Disc Reviews by Gino Sassani on February 27th, 2009
“Come and listen to my story about a man named Jed. Poor mountaineer barely kept his family fed. Then one day he was shootin’ at some food and up from the ground comes a bubblin’ crude. Oil that is… Black Gold…Texas Tea…”
Who doesn’t remember the Clampetts, those lovable Beverly Hillbillies? The show has been revived in a film, rap songs, and a Weird Al parody of Dire Straits’ Money For Nothing. Terms like cement pond have lingered in our pop culture. The song was a genuine Billboard hit at the time and is still instantly recognizable some 40 plus years after the show aired.
Posted in: Disc Reviews by Gino Sassani on February 27th, 2009
I used to think that any movie that Robert De Niro attached his name to had to be good. And that used to be true. I was willing to take a chance on low budget or blockbuster films, knowing that De Niro wouldn’t lead me wrong. Then along came Stardust, and honestly, the man hasn’t been in a good film in some years now. Still, my loyalty remains, and What Just Happened looked to be interesting enough that my buddy, Bobby D couldn’t disappoint me again. So, what did just happen? He let me down.Films about filmmaking are always a hazard. We all think that we want to see inside the true Hollywood, don’t we? Gossip programs and internet sites would seem to indicate that we can’t get enough of the inside poop. So, the temptation to deliver accurate films that portray these inside aspects of Hollywood come along every once and awhile. We peek, because we think we want to know. The truth is that voyeurism gets boring pretty quickly. We all want to eavesdrop on other people’s private moments. I’ve done it both professionally as a private detective and even for fun with a scanner that allowed me to listen to cell phones back in the old analog days. You know what? People are boring. It was exciting at first and my friend Mike and I would sit and listen to stuff for hours. We would get together and talk about what interesting things we heard. Before long we both realized that most of it was so painfully mundane that we just sort of stopped doing it. That’s what these films remind us. No matter how exciting the world of movie stars, directors, and producers might look from the outside, 90% of it is pretty pedestrian stuff. Unfortunately this film doesn’t spend much time in the 10% that might be exciting. In the end, not even some good casting could save this picture from making me feel like I did listening to those cell phones.
Robert De Niro is Ben, a big time producer and power broker in Hollywood. He’s dealing with two films at the moment. One is already shot and stars Sean Penn. The film’s director, Jeremy Brunell (Wincott), is a temperamental pill addict. When the advance screening doesn’t go so well, he’s told he has to redo an ending that shows a dog get blasted dead by the film’s bad guys. He doesn’t want to compromise his artistic integrity, but the studio boss, Lou Tarnow (Keener) will pull the plug on his Cannes premier if he doesn’t play ball. Ben’s upcoming film stars Bruce Willis, who shows up for his fitting appointment overweight and sporting a “Grizzly Adams” beard, which he refuses to shave. The studio bosses insist they’ll shut the film down and sue everybody involved if Willis won’t shave the beard and work out to lose weight. Willis’s agent is a crazy hypochondriac who is deathly afraid of his client, so Ben can’t get him to lay down the law. The agent is played wonderfully by quirky character actor John Turturro. Ben needs both pictures to work out because he’s supporting two ex-wives who are used to fancy living at his expense. The film is mostly told from Ben’s point of view, often through De Niro’s narration, as he attempts to save both pictures and deal with the more recent of his ex-wives. They’re actually in therapy to learn how to live without each other.
Posted in: No Huddle Reviews by Gino Sassani on February 27th, 2009
“We need to go back to a time where it all started. When God was getting busy with the creation of the universe, where there was only cosmic goo, God’s play-doh, if you will. While God was messing with this play-doh, creating all living things, he put death into a ceramic jar for safe keeping, until he could figure out what to do with it. One day God gave the jar to a frog and a toad to guard it from harm, while he went off to create something more fantastic. Why he gave it to a frog and a toad I’ll never know, but one thing led to another and the jar shattered, letting death out; and ever since, everything has to die. So, there you have it, the mystery of death finally revealed.”
What a fitting way to open up an unexpected new chapter in the story of Dead Like Me, the direct to video film that attempts to resurrect from it’s own death the cult favorite Showtime original series.
Posted in: Disc Reviews by Gino Sassani on February 25th, 2009
Posted in: Disc Reviews by Gino Sassani on February 25th, 2009
“They’re not leaving till they get dessert.”
Director John Gulager might be the son of famed cult B movie star Clu Gulager, but that’s not how he broke into the business. He was a Project Greenlight winner. Project Greenlight is a competition for up and coming directors. They compete in a reality show style setting for the opportunity to direct a major release film. Now, I didn’t say it was a big budget film, but it does get backed and released by a major studio. When John Gulager won, his reward film was the original Feast. The film did well enough that now a couple of years later we’re on the third installment of what has become a somewhat cult hit franchise. Nothing has changed in this third film; in fact, it could be argued that the three films could be cut together into one long epic piece and it would work just as well.
Posted in: Disc Reviews by Gino Sassani on February 25th, 2009
Posted in: Disc Reviews by Gino Sassani on February 24th, 2009
“A movie filled with so much terrible horribleness, you’ll crap someone else’s pants”
Bruce Campbell has carved out himself quite a little niche in the acting game. No one would consider him a superstar, and the films he’s most notable for are the kind of cult favorite films that critics tend to hate, all except this particular critic. What’s kind of funny about the whole thing is that Campbell has appeared in some seriously successful films, including all three Spider-Man movies. His parts in these affairs might have been small, but Sam Raimi fans know that it wouldn’t be a Raimi film if it didn’t have Bruce Campbell somewhere. Campbell got his start with the Raimi brothers doing little backyard films with them as children. When Raimi got the opportunity to create something a little higher profile, his first choice as the lead was Bruce. That film became the fan favorite Evil Dead and spawned two sequels. The Evil Dead films don’t take themselves or the zombie genre very seriously. They’re a farce, and a failure to recognize that is why the critics hate those films so much. Just take another look at them. The blood effects border on the ridiculous, and Campbell plays such an anti-hero that we laughed far more than we screamed at those movies. For Raimi it meant the chance to become one of the best selling directors out there. For Bruce Campbell it meant wearing the title of schlock king for the next 30 years. If you understand what I just said about The Evil Dead films, than you understand Bruce. And you simply have to understand Bruce, or you will hate this movie.
Posted in: Disc Reviews by Gino Sassani on February 24th, 2009
Paul Newman was born in 1925 near Cleveland, Ohio. He was an attendee of the world famous New York Actor’s Studio drama school in 1947. His first movie is included here, The Silver Chalice. The effort actually embarrassed him, and he took out an ad apologizing for the performance. It was looking like this young actor was going to disappear into obscurity in short order. Fortunately for moviegoers everywhere he decided to stick it out. He would deliver in the 1960’s and 1970’s some of the best movies ever made. His team ups with Robert Redford made for one of the best acting partnerships in film history. That’s what I’d like to see as a collection. Films like The Sting, All The President’s Men, and Butch Cassidy and the Sundance Kid would make the best collection
With the Acadamy Awards nearby, Warner Brothers decided to trot out a tribute to the recently deceased Paul Newman. Unfortunately they picked some of his worst, and certainly lesser known films to do the job. All of these films represent either an early point in Newman’s acting or directing career or as is the case with When Time Ran Out, a late career paycheck before Newman found out he could still do good films. None of these efforts represent his power films of the 1970’s.