The Good and The Bad

Yes, we all agree that John Cassavetes, the director, was innovative and pumped real life into film and that his work still inspires legions of fans. But John Cassavetes, the actor? Heaven help us. In his own films as an actor (I'm thinking of "Husbands" and "Opening Night"), Cassavetes was tolerable. But in movies in which he was not at the helm, he drives me to distraction. His forced intensity, wild gestures, and shouting stage voice.... Arrrgggghh. Perhaps the reason his performances are so scattered is because other directors were afraid to say, "Down, boy," or perhaps J.C. was trying to let them know who was in charge and was simply untameable. I recently rented Elaine May's interminable "Mikey and Nicky." Torture. (Peter Falk, who's so comfortable on screen, gave me a reason to keep watching.) I wonder: are there any John Cassavetes, the actor, fans out there? (Image via Altfa.org)

Menu Cringe

The DVD menu for Spalding Gray's "Swimming to Cambodia" made me cringe. In a crude animation, Gray, who committed suicide in 2004 by jumping off the Staten Island Ferry and drowning, bobs and sinks between waves. The viewer can opt to play the movie or choose selected scenes while S.G. almost drowns. Even thinking about it now makes me wince. Granted, the DVD for this 1986 film was probably issued long before his death but still couldn't it be recalled or something. Thankfully, I quickly forgot that initial off-putting introduction. Gray's monologue on his adventures in Cambodia while filming "The Killing Fields" had me laughing out loud. (Rare if you're watching something alone.) As with "My Dinner with Andre," I never realized how much fun listening can be.

Drink & Read

Here's a fun little twist: a movie that makes you want to read and get drunk. "Bukowski: Born into This" has the perfect balance between the notoriously inebriated writer's persona and his work. Although I've read Bukowski in the past (he gets an A+ for consistency--or rather, for telling the same story again and again), this documentary made me want to run out and buy more of his books. The almost two-hour film is chock-full of footage of Bukowski reading his poetry in his smooth-gravel voice. I also liked that the filmmakers printed stanzas of his work on the screen during some scenes. (Images via Jeremayakovka and Amadzine)

Don't Believe the Blurb

Baby got burned. I rented "Where the Truth Lies" because I read a capsule review that described its leads as based on Jerry Lewis and Dean Martin. Wrong! After reading Jerry Lewis's memoir last year, I consider myself a curious fan of this duo. (I've even rented the DVD of the Martin & Lewis Colgate Comedy Hour.) Thinking I was going to see a flick about the Martin & Lewis working relationship by one of my favorite directors (Atom Egoyan), I was utterly disappointed. The main characters are based very, very, very, very loosely on M & L. This is a lame murder mystery (think "Murder She Wrote") that taught me not to believe the blurb. (Image via Popmatters)

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"The Haunting" (1963 ), directed by Robert Wise: Got bored.

(Image via Tintype)

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"For Your Consideration" (2006), directed by Christopher Guest: Each subsequent film by Guest becomes less funny than its predecessor.

"This Film Is Not Yet Rated" (2006), directed by Kirby Dick: Documentary that will make you hate Jack Valenti even more.

(Images via Adweek and Rotten Tomatoes)

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Sin City" (2005), directed by Frank Miller and Robert Rodriguez: Style over substance.
(Image via RottenTomatoes.com)

Somebody's Sins

It tops a ton of Most Controversial Films lists, so I felt obliged to watch Jesus die again on celluloid. The critics describe Mel Gibson's "The Passion of the Christ" as virulently anti-Semitic and a religious snuff flick. I disagree on the first point and half agree with the second one. The scene in which Roman guards beat Jesus is so blood-soaking relentless that the actual crucifixion is a relief. Mel's view is that Jesus suffered, and he certainly drives home that belief. Not the best religious film out there (I vote for Pasolini's "The Gospel According to St. Matthew"), but this is still a powerful movie about being a witness. Some witnesses, like Mary, step forward, while others step back. (Images via Independentcritics.com and Cnn.com)

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Infamous" (2006), directed by Douglas MacGrath: Pretty good supplemental film to the superior "Capote."

"Sherrybaby" (2006), directed by Laurie Collyer: Maggie Gyllenhaal's performance is the female version of Ryan Gosling's in "Half Nelson."

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"The Laughing Policeman" (1973), directed by Stuart Rosenberg: Soooo sloooow.

(Image via Outnow.ch)

A-ha Moments

Take a Tom Snyder-style character, have him host a spoof talk show like 1977's "Fernwood Tonight," and set it in London. That's what "Knowing Me, Knowing You" is like. Wildly popular in Britain, this 1994 talk show parody stars Steve Coogan as Alan Partridge. This series is very British and very dry, so dry that sometimes the humor doesn't hit you until the next day. Alan Partridge is known for his signature "A-ha" line, which comes from the Abba song, of course ("Knowing me, knowing you, A-ha"). Typically, each show devolves into mayhem as control-freak Partridge loses his British manners with uncooperative guests. I only wish there were more episodes available on DVD.

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"The Italian Job" (1969), directed by Peter Collinson: Didn't crack a smile and yawned a lot while watching this comedy heist caper.

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Soylent Green" (1973) directed by Richard Fleischer: Don't know what all the fuss is about.

(Image via Idata.over-blog.com)

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Lessons of Darkness" (1992), directed by Werner Herzog: A little bit "Koyaanisqatsi," a little bit "2001," a little bit boring.

"We Don't Live Here Anymore" (2004), directed by John Curran: Doesn't work.

"The Constant Gardener" (2005), directed by Fernando Meirelles: Lively cinema-verite camerawork makes this a grade-A thriller.

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"The Sweetest Sound" (2001), directed by Alan Berliner: Tight but light documentary about the director's obsession with his name and the other people who share it.

"Infernal Affairs" (2002), directed by Wai Keung Lau and Alan Mak: Cream of the Chinese gangster crop.

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Close My Eyes" (1991), directed by Stephen Poliakoff: Incest is best, if one of the siblings is Clive Owen.

"Birth" (2004), directed by Jonathan Glazer: Some very evocative scenes but overall M. Night Shyamalan wanna-be.

"Hard Candy" (2005), directed by David Slade: Psychological revenge flick that feels a little stagy.

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Putney Swope" (1969), directed by Robert Downey Sr.: Dead-on satire but a little dated.

"Girl with Green Eyes" (1964), directed by Desmond Davis: Very British, very early '60s, and how I love Peter Finch.

"Freaky Friday" (1976), directed by Gary Nelson: Rent the remake with Jamie Lee Curtis instead.

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Melvin and Howard" (1980), directed by Jonathan Demme. Too little of Jason Robards and too much white trash kitsch.

"School of Rock" (2003), directed by Richard Linklater: Funny and sweet.

"Dangerous Game" (1993), directed by Abel Ferrara: Keitel is very good, and Madonna is surprisingly good.

Drive-in Saturday

In this weekly feature, I review in one sentence or less videos/DVDs of movies that you either have seen already or wouldn't bother to see.

"Black Sunday" (1977), directed by John Frankenheimer: Pretty good political thriller/disaster movie.

"A Cry in the Dark" (1988), directed by Fred Schepisi: Streep is the reason to rent.

Excitations

One of the surprises for me in watching "Theremin: An Electronic Odyssey" was Brian Wilson's appearance. True, "Good Vibrations" is the best known piece of music that uses a Theremin. Nevertheless, I didn't expect to see a very animated, very passionate, and very talkative B.W. in this documentary about the life of the instrument's inventor. Brian is notoriously monosyllabic in interviews, but you would never know it from this footage. He is verbose, his arms wave around, and he cracks jokes. Most importantly in regard to Leon Theremin, Brian credits the use of the cello with the Theremin for the success of "Good Vibrations."