"Johnny Guitar" - review

High Plains Camp in Glorious Color

While director Nicholas Ray is probably most well-known among film fans for the seminal tale of teen angst "Rebel Without A Cause" and many excellent Film Noirs, he is also acclaimed as one of several industry icons for his mastery of melodrama.  Ray's second take on the Western, "Johnny Guitar", is an excellent example of the kind of story that shoots for the rafters with soaring, energetic emotions as well as blistering barrages of bullets.  Joan Crawford is also no stranger to the exuberant exaggerations of camp, and she has always been highly regarded by such aficionados for her brooding and often explosive performances.  As lead actress in "Johnny Guitar", Joan makes the film both a hilarious and yet equally dramatic delight.

Crawford plays Vienna, a strong, independent and pistol-packin' Frontier woman who runs her own saloon and casino in a small, nameless town.  Vienna knows that the railroad will be coming through soon, and that the land she now occupies will make her wealthy when the trains start to regularly bring in more people, supplies and ever-increasing business.  However, a cabal of cutthroat locals doesn't want to share these riches, and they band together to force Vienna out, dragging the seemingly spineless sheriff along behind them like a frightened dog on a leash.  The head of this avaricious hydra is helmed by Mercedes McCambridge as the venomous firebrand Emma Small, whose obsessive hatred of Vienna teeters on the precipice of full-blown mania.

While Vienna consistently presents an unwavering and cool exterior despite to the increasing pressure put upon her to abandon her plans and get out in 24 hours, Emma is barely able to contain her deep and nearly deranged loathing for every single begrudged breath Vienna takes.  Mercedes McCambridge's erotically enraged performance is a sumptuous pleasure. It's not only a feast for lovers of camp, but also for its gay subtext as the intense rivalry between these two characters is widely interpreted as arising out of Emma's secret lesbian lust for Vienna.  Being firmly closeted, Emma abhors her private passions and since she also cannot express them, they transform into a white-hot fury that corrosively compels Emma to destroy Vienna in a vain attempt to purge her own Sapphic desires.

Vienna knew that Emma's malignant ardor will soon evoke a desperate and mortal assault, and so she sends for Johnny Guitar, a former lover and gunslinger, to protect her.  Sterling Hayden is perfect as the seemingly laconic Johnny, yet the turbulent history that he and Vienna share results in a love/hate relationship that vacillates wildly.  However, as Emma's irrational and emotional outbursts increase in ferocity, Vienna and Johnny finally unite to stand their ground.  The scenery is gorgeous, the writing is taught and biting, the performances are superb and the climatic battle is near-orgiastic in its final release of so many long-held and roiling tensions.

Was it good for you, Emma?

"The Andromeda Strain" - review

A little too cool, but wonderfully calculated

Michael Crichton is a name well-known in literary and film circles these days, but back in 1971, the adaptation into film of his first novel "The Andromeda Strain" attracted little fanfare.  It wasn't until the box office juggernaut of Steven Spielberg's "Jurassic Park" in 1993 that Crichton truly became a household name.  However, despite the absence of modern visual effects, I prefer director Robert Wise's more measured approach to Crichton's work, and "The Andromeda Strain" is still a frighteningly relevant and prescient story.

The United States has secretly sent out a satellite to literally scoop something extraterrestrial from the vacuum of space and return it to the Earth for examination.  Naturally, the trouble starts when they are successful and the organism, upon accidental release from its capsule in a small desert town, threatens to destroy all human life.  However, such contingencies have been anticipated, and the procedures for dealing with such a deadly threat within a massive underground laboratory comprise the bulk of the story.

From the opening credits, the pacing is tense.  Director Robert Wise succinctly sets the stage, introduces the characters and constantly reminds us that the clock is loudly ticking.  When the scientists are gathered to deal with the organism, there is barely time for goodbyes.  They are called and must go immediately.  Time is critical to solving what could be an extinction level event and the assembled team is starting from scratch as they know absolutely nothing about their subject.

While the character development isn't the strongest, the film is still quite gripping via the detailed and layered scientific protocols that are deployed to try and determine what the Andromeda Strain is and how humankind can possibly survive it.  While the rigorous processes employed sometimes outweigh the emotional and psychological components, this is a part of what is demanded of the people who must calmly persevere if they are to prevent a potential apocalypse.

As with many films from several decades ago, "The Andromeda Strain" may feel dated in some ways, but it stands as a unique science fiction story because it relies mainly upon science for its drama instead of fiction.  Some may find the story tepid or the pacing too slow, but because it's a more realistic approach to a crisis situation, I find the film to be a very credible and enthralling story compared to the usual callow and CGI-splattered spectacles that the cinema usually offers.

"Coneheads" review

A funny, silly and yet beautifully heartfelt film

In my opinion, Saturday Night Live's run of theatrical efforts are quite variable in quality.  Most don't have a strong enough story to feasibly stretch a sketch into feature length, and the main characters are often not well-developed enough to be interesting, much less compelling.  However, "Coneheads" has been one of my favorite SNL films from the very first viewing, and the main reason for this is that the story and characters are superb.

The raucous sketches on SNL mostly revolved around contrasting the cultural differences between the coneheads and their often confounded human guests.  The film continues this trend, and on the surface, "Coneheads" appears to be a breezy comedy, but it also deftly interweaves deeply affecting themes about family and identity which are just as enduring and relevant almost thirty years later.

Dan Aykroyd and Jane Curtin reprise their roles and Beldar and Prymatt, but this time we are introduced to them before they have had their daughter.  Marooned on Earth before they can conquer the planet, Beldar and Prymatt must blend in amongst us lowly bluntskulls if they are to survive.  This fish-out-water scenario has many excellent comedic moments, but it also addresses the current and white-hot issue of immigration, especially when it comes to empathizing with people who will do anything to build a better life for themselves and their children.

In order to pass as human, Beldar needs documentation.  He's so good at electronic repair that his boss, wonderfully underplayed by Sinbad, hooks Beldar up with "a guy" so that Beldar can become Donald R. DiCicco.  However, immigration is aware of this, and Michael McKean as Gorman Seedling becomes Beldar's nemesis.

Aided by David Spade as Eli Turnbull, the perfect office toady and unctuous underling, Gorman Seedling doggedly pursues Beldar and Prymatt but is continually stymied by their narrow escapes.  However, Beldar and Prymatt's need for stability becomes paramount when Prymatt reveals that she is pregnant.

The Coneheads move to the suburbs.  Beldar finds a profitable career as a driving instructor, Prymatt becomes the perfect homemaker and their young daughter grows up.  Connie Conehead, born and raised on Earth, is a typical teenage girl aside from her prominent dome, and she soon finds romance with auto mechanic Ronnie, played by Chris Farley.  Their scenes together are adorable, and it's wonderful to see Chris Farley break free from his usual boorish, clumsy characters and play someone normal.  Even more appealing is that even though Ronnie is fat, he is still presented as an attractive and lovable person.

However, teenage romance has its troubles, and here is where Prymatt gets a chance to shine as she lovingly counsels her daughter, providing reassurance, encouragement and validation.  While many of these scenes are still humorous as they play out through the unique conehead style of dialogue, they still move the heart with their truth and kindness.  What a sublime combination to be moved to tears and laughter at the same time!  I love it when comedies make you smile for multiple reasons!

Beldar and Prymatt have their emotional struggles as well.  Beldar has a driving client who repeatedly tries to seduce him.  Beldar quickly rebuffs her, but Prymatt privately worries whether Beldar still loves her.  When Prymatt finally asks Beldar, his response is of course, VERY conehead in its dialogue, but again, the depth of feeling behind the seemingly stilted and silly words is very moving and Prymatt's fears are utterly banished.  While their communication style is different, it still perfectly expresses the affection, trust and love that is necessary makes any relationship last for many years.

The theme of family runs strong through the entire film, and it reaches its apex when the Coneheads are finally rescued and return to their home planet.  While Beldar is ecstatic at finally seeing Remulak again after many long years of waiting, Connie is now miserable because she misses her boyfriend and the only home she's ever known.  To Connie's dismay, Beldar appears to be ready to lead another conquest of Earth, but he ultimately makes a different choice because Beldar understands and respects his daughter's needs.

Having struck a deal with Gorman Seedling over his immigration status, Beldar decides to remain on Earth because he wants what is best for his daughter.  While this comes at the cost of cutting Beldar and Prymatt off from their culture entirely, they have lived on Earth so long that they have become comfortably adapted to their new home and so can happily wave to Connie and Ronnie heading out for the Senior Prom while they gaze at a fresh picture of the blushing young couple.

"Aaaah, memories!  We will enjoy them!"

"Brawl in Cell Block 99" - review

A gore-splattered grindhouse flick with heart

Movie fans are probably most familiar with writer-director S. Craig Zahler's bleak Western "Bone Tomahawk", starring Kurt Russell and Richard Jenkins.  However, Zahler's follow-up film, "Brawl in Cell Block 99" starring Vince Vaughn and Don Johnson, is very similar in its focus on tersely written character drama interspersed between scenes of increasingly volcanic violence.  Zahler loves pulp films, both in style and in bodily destruction, but thankfully he is able to balance the aortic explosions with sincere, intimate exposition that gives the grisly proceedings meaning beyond mercilessness.

Vince Vaughn is Bradley Thomas, a former drug mule struggling to live a clean life.  Recently fired from his auto body job, Bradley regretfully returns to running meth in order for him and his newly pregnant wife to have a chance at being a happy family.  However, Bradley is gifted and/or cursed with a functioning conscience and when a delivery goes bad, he stays instead of running.  Bradley shoots some of his cohorts to prevent local cops from being murdered, but Bradley's criminal history overshadows this one selfless act, and he is sentenced to seven years in prison.

Bradley's wife is kidnapped, and their unborn child is threatened with prenatal dismemberment unless Bradley kills a man in another prison.  The slow and inexorable descent into brutality upon brutality reaches nearly nonsensical heights as getting to that man requires Bradley to leave a trail of broken bones and crippled guards behind him.  This is NOT a film for the squeamish, but the increasing chiaroscuro style of the cinematography makes Bradley's persistent plunge into amoral oblivion take on a painterly elegance and composition.  Filth and darkness has rarely looked so repulsively and yet classically gorgeous.

Vince Vaughn's performance is restrained and quite credible.  There's nary a flash of the witty, quip-laden and fast talking character he is wont to play.  Vaughn also does most of the stunt work, and that combined with his imposing height and the long takes makes the fight scenes as impactful upon the mind as they are on the bodies.  The effects are all practical as well, which lends another level of veracity and ferocity to the melee.  There is one shot at the very end that while brief, does not work well, but overall if you're in the mood for a "Sin City"-styled fight to the death, "Brawl in Cell Block 99" will definitely get your blood pumping.  Just try to keep it inside your body!

"Apollo 11" - review

Stupefaction in 70 millimeter!

Being born on July 20th, 1969 guaranteed that I'd be a fervent fan of NASA for my entire life.  I've eagerly read about all the amazing accomplishments prior to and after Apollo 11 landed on the moon and and have always thrilled at that singular, history-making moment when humankind took its first bold steps into the cosmos.  I've watched multiple documentaries multiple times and relished the familiar and yet still inspiring footage again and again.  I thought I had seen it all, and I've never been SO happy to be proved wrong!

Launch pad 39A at Cape Canaveral, Florida on July 16th, 1969.

The crawler which carried the Saturn V to 39A at nearly 1 mph!

"Apollo 11" is the new benchmark in American space documentaries, and I'm still reeling from the initial viewing.  Produced, directed and edited by Todd Douglas Miller, the film is an astounding visual and sonic experience.  The never seen and newly restored archival 70mm footage is colossal and breathtaking.  The images are of such clarity and depth that you feel as if you are actually part of the scene.  I was so awestruck by the detail in every shot that I struggled to believe they were real.  

Michael Collins - Command Module Pilot

Edwin "Buzz" Aldrin - Lunar Module Pilot

Neil Armstrong - Mission Commander

The journey begins!

It is this immersion that makes "Apollo 11" feel so vibrant, arresting and powerful despite the fact that this particular mission has been so thoroughly documented and presented so many times in the five decades since.  As the world watched in unison and celebrated one of the greatest achievements in human history, we can now look back upon that glorious time with a newfound perspective that is as grandiose at it is bittersweet.  While we have left our home planet for the first time, we have still not left behind our fear and ignorance.

You feel like you're standing right there, looking up in awe.

Thousands gathered to witness history with their own eyes.

The propulsive sound and spectacle of the launch is incredible!

Even Mission Control couldn't resist watching from their stations.

As America and the rest of the world continues to grapple with the myriad problems of life on Earth, "Apollo 11" reminds us that there is always the opportunity for discovery, knowledge and glory in the stars.  While such adventures may not directly benefit individual lives, they can still provide inspiration, hope and wonder.  Having struggled myself with fluctuating fortunes throughout my life, it is with a grateful relief that I can take a break from my seemingly trivial challenges and bask in the immensity of the universe and our infinitesimal place within it.

The new footage from space is eye-goggling!

The immortal moment.

Neil Armstrong and Buzz Aldrin fly Eagle back into orbit.

Michael Collins approaches to dock.

Successful splashdown!

The most important reunion!