Nomadland (2020)

 'Nomadland' is based on journalist Jessica Bruder's 2017 book 'Nomadland: Surviving America in the 21st Century.'  Adapted for the screen and directed by Chinese born filmmaker Chloé Zhao, it won the Golden Globe for both best drama and best director and is generally considered the front runner in the best picture and directing categories going into this years Oscars. The film is a window into the world of a van dwelling sub culture, principally of older people, who in the aftermath of the Great Recession travel a sort of circuit throughout the Untied States looking for seasonal work. 

Our lead character is Fern, she is portrayed in an admirably restrained performance by the great Francis McDormand, who I think is even better here then she was in her Oscar winning role in 'Three Billboards' a couple years back. Fern worked various jobs including substitute teacher, cashier, and office work in Empire, Nevada before the local Gypsum mines closed up in 2011 essentially killing the town. With no children and her husband dead Fern embarks on a nomad life that takes her from working at an Amazon warehouse during the holiday season, to work at RV parks near national parks during the peak travel season, and sugar beet harvesting in Nebraska in the fall. 

The film this movie reminded me of the most is probably 'Into the Wild' which also featured a lead character on a journey across America encountering various intriguing characters along the way. 'Nomadland' has a less episodic feeling then the previous film because Fern will repeatedly reencounter characters following a similar circuit to hers, chief among them is a potential romantic interest in the form of David Strathairn, who is immediately taken with her but whom Fern takes some time to warm to. 

Inherently melancholy by virtue of its subject matter there is still some sense of hope here, or if not hope exactly a kind of reconciliation with the seemingly arbitrary in life. Valuable as a portrait of a way of life in a rather specific time and space, it's a beautifully low key film and certainly one of last years best. ****

Come and See (1985)

 'Come and See' is a late Soviet World War II epic of surprising bluntness and artistic achievement. It follows Flyora (Aleksei Yevgenyevich Kravchenko) a Belarusian boy of roughly 13 and his involvement with the resistance to the German invasion in 1943. It's a rough, largely unsparing and defiantly unglamorous depiction of the horrors of war. Flyora seems to age decades in the matter of maybe weeks that this story covers. It's got some memorable visuals to it, haunting moments, it's played straight but at times still seems absurdist. It's memorable ending provides some elements of revenge fantasy, but even that is meant to feel not quite satisfying. That war is hell is strikingly conveyed. ****

The Other Side of the Wind (2018), They'll Love Me When I'm Dead (2018)

 'The Other Side of the Wind' was perhaps the most famous of Orson Welles multiple unfinished film projects. Shot off and on between 1970 and 1976 and never completely edited before Welles death in 1985. The film spent succeeding decades in a kind of legal limbo, in part I suspect because one of the films financers had been the brother of the Shah of Iran. Netflix of all entities was finally able to cut through the red tap and get the project fully edited, going off of Welles's notes as a guide.

The movie is extremely self referential, it is the story of a legendary film director (John Huston) struggling to complete what ends up being his final directorial project. Eerily Welles's surrogate character ends up dyeing at the age of 70, the same age at which Orson would eventually die. The movie consists principally of two parts, segments of the film that the director is working on, and a long night time party sequence at the autors ranch in the desert. 

The movie presents itself as a kind of documentary, or as Welles might call it a 'film essay'. Where 'Citizen Kane' is noted for its slow and graceful cinematography, with shots scrupulously composed, 'The Other Side of the Wind' is much more a collage with lots of sharp cuts. While the basic story is certainly there, and some sequences are very deliberately structed (especially in the movie within the movie, a satire of then popular 'European art atmosphere' pictures, also titled 'The Other Side of the Wind'), much of the film has an improvised quality. A fascinating, satirical time capsule, the film shows a late career Welles still interested in pushing boundaries. A solid swan song and hauntingly appropriate bookend to 'Citizen Kane'. ***1/2

'They'll Love Me When I'm Dead' is a companion documentary Netflix put together for the release of 'The Other Side of the Wind', and tells the story of that films long and troubled production and the decades that it ultimately took to get the movie out to the general public. It is a story almost as interesting as the movie itself. ***

Coming 2 America (2021)

 'Coming 2 America' is the 33 year later sequel to 'Coming to America', a giant hit for Eddy Murphy in the late 80's. I'm not a huge fan of the original film, which I did rewatch immediately before viewing the sequel (I recommend you do the same if you chose to watch it). The original film is definitely superior, it really was a pretty novel concept especially for it's time, while the sequel mostly feels warmed over. There is a quality of virtuous preening to both films that I found off putting, especially when combined with some pretty low humor. I don't think I laughed once in the sequel, while the original film could boast some keen wit. It was kind of neat to see how much of the first cast they could get back together, James Earl Jones looks in better health then Louie Anderson, but didn't' he always. *1/2 

The Comfort of Strangers (1990)

 'The Comfort of Strangers' is a 1990/91 release based on the 1981 novel of the same name by Ian McEwan, one of his more disturbing novels in my estimation. There is an awful lot of talent here, Paul Schrader directs off of a screenplay by Harold Pinter. The small main cast centers on two couples, Natasha Richardson and Rupert Everett, Christopher Walken and Helen Mirren, the latter pair praying on the former. Slow, moody, understandably literate, beautifully shot. The film is set in Venice. I'm not sure this is really a book that should have been made into a movie, and while I could apricate much in this film, I don't know if I could ever quite enjoy it. The unsettling quality was intentional, but still unsettling. ***

Springbreakers (2012)

 To my surprise I thought 'Springbreakers' was good actually. 'Springbreakers' is probably the biggest financial hit ($30 Million box office off a $5 million budget) for Harmony Korine, who I guess you'd call an "art" director. With Films like 'Gummo' and 'Trash Humpers' (yes it is what it sounds like) to his credit, Korine is one of those film makers who seems to set out to offend, like a less polished Lars Von Trier. 

'Springbreakers' is about four collage girls who go on spring break in Florida and become mixed up with a local small time gangster/ rapper named 'Alien' (pronounced A-Lean) played by James Franco, who is the best thing in this film with his committedly weird performance. Though the selling point seems to be seeing former Disney stars Vanessa Hudgens and Selena Gomez in bikini's while drinking and doing drugs. They are joined by Ashely Benson and Korine's wife Rachel. 

To my reading the film is about decadent youth culture and the seduction of evil, though in praise or condemnation of these things in uncertain, the film is more observational then editorial, though things do go way over the top. What worked for me most about this film is seeing the different levels to which the characters were willing to go, where they drew the line, as it's not all at the same place. 

The Gomez character considers herself a committed Christian and there is a behavioral and ethical line she is willing to flirt with but not cross. She wants this trip to be something it doesn't turn out being and the mental gymnastics and denial she goes through before breaking is kind of endearing. Even the shallowness and amorality of the Benson and Hudgens characters are softened some by the idea that this is just what many vain and attractive young women are like at that age, that its a rebellion, a part of their growing up, and that likely they would eventually grow out of much of it. Rachel's character is somewhere in the middle. I'd be frankly curious to see Korine revisit these characters around the 10 year mark. 

Doubtless the mixture of low expectations and morbid curiosity I came into the film with meant it wouldn't have taken much for this film to surprise me. However it did surprise me, and while I think the director was kind of playing both sides, he ultimately produced an interesting document, though what is says is largely in the eye of the beholder. ***

Supermensch: The Legend of Shep Gordan (2014)

 'Supermensch: The Legend of Shep Gordan' is a bio-doc of beloved Hollywood super agent Shep Gordan, done by friend and one time client Michael Meyers. Shep Gordan is a very chill guy, with a knack for promotion and a golden rule attitude, it's brought him far and the loyalty between Shep his clients and friends comes through very strongly. It's largely a string of endearing anecdotes which I can't do justice here, but even if you know nothing of Gordan going in you'll likely come out a fan. ***

Even Dwarfs Started Small (1970)

Black and white, all little person cast, filmed in the Cannery Islands by West German art director Werner Herzog. 'Even Dwarfs Started Small' is not a conventional narrative film, loosely structed it just kind of wanders, what plot there is concerns a group of inmates at a mental institution who take it over and hold it's director hostage. There is not a lot of tension or conflict because no one ever comes to rescue the director or even check on how things are going, and inexpiably there is no security or medical staff. A woman stops by briefly in her car but she just appears to be lost. 

Again all little person cast but things aren't sized for little people, at one point the characters amuse themselves by looking at German porn from the 30's. Needless to say its odd, an art piece, any five minute segment of the film would give you the gest. Some memorable images, like crucifying's a monkey (no monkeys were harmed in the making of this film, though the same can not be said for pigs or potted plants). Still not something I've seen before, that and the surrealness count for something. **1/2 

Messenger of Death (1988)

 In 'Messenger of Death' Charles Bronson and Cannon Films attempt to do for fundamentalist Mormonism what 'Witness' did for the Amish, only it doesn't quite work because its Charles Bronson, Cannon Films and fundamentalist Mormonism. That being said it's pretty good for what it is, a low budget mystery thriller with one or two memorable set pieces. 

Bronson is a Denver based newspaper reporter who covers the massacre of a polygamists family, and then decides to help his friend the chief of police (Daniel Benzali) who is coming up short on leads and just kind of needs the story to go away as he prepares his run for Mayor. Bronson wades into the middle of blood feud between dueling prophet brothers Jeff Corey and and John Ireland, with the help of their lapsed Mormon cousin played by Trish Van Dever. A water company owned by major supporters of Bronson's friends mayoral candidacy also seems to be in play some how, so from these elements you can probably piece together largely how this story goes. 

Helmed by J. Lee Thompson who directed Bronson in a total of eight films, the movie has the quality of something made by people perhaps a little too comfortable working together. But the film was just smart enough to keep my attention, and at 91 minutes is a pleasant watch. **1/2

The Ugly American (1963)

Based on the novel of the same name 'The Ugly American' is about the newly appointed ambassador (Marlon Brando) to a south-east Asian nation, who despite being well intentioned and pretty smart, manages to bungle the whole diplomatic situation there. The book, which came out in 1958 caused something of a stir and is credited as a partial inspiration for the 'Peace Corps' started by the Kennedy administration. The movie came out in 63' and comes across as very prescient regarding the American situation in the Vietnam, still in it's relatively early stages. The movie bombed, I suspect in part because it made people uncomfortable. 

The film is a mixed bag, it has something to say, but I don't think it says it all that well. The bulk of the film is just kind of there, you don't feel much and it's not all that engaging, but it's punctuated with these really strong dialogue sequences, particularly Brando's Senate confirmation hearing and most of his scenes with war time friend turned populist leader Eiji Okada. Sandra Church is cast as Brando's wife and it's slightly odd casting in that Church was largely a singer and stage actress (she originated the role of Gypsy Rose Lee on Broadway) and did only a handful of films, she is still with us at 84. Like her casting this film is ultimately little more then a curio. **1/2

Class of 1984 (1982)

The main reasons I decided to watch 'Class of 1984' is that it was free on Prime and that I want to watch the later film 'Class of 1999' as that is the year I graduated from high school. This is a lose series, 'Class of 1999' came out in 1990 and appears to be a kind of apocalyptical youth violence film, and 'Class of 1984' (which came out in 1982) focuses on youth violence as well. The main thread between the two films seems to be the text intro to the first that stats that fortunately not all high schools are like Lincoln High... yet. 

I didn't expect much of anything out of 'Class of 1984' other then I expected it to be bad. I was really pleasantly surprised, while it's still a form of trash I suppose, I'd have to call it high trash. It starts out as one of those inspiring teacher movies like 'To Sir With Love' or 'Lean on Me' but by the end it becomes 'Die Hard'. It becomes a kind of revenge movie, but the bloody ending is really earned, it's shockingly well done for the shlock that it is. 

Perry King and Tim Van Patten prove great foils for each other, as new music teacher and problem (to put it lightly) student respectively. Their contest of wills make this picture. There is a good supporting part for Roddy McDowell as a science teacher, and a baby faced Michael J. Fox plays one of the good kids. By no means for everybody, this is an exploitation movie that is much better then it needs to be and transcends from being a good bad movie, to just being a good movie. ***

The Being aka The Pottsville Terror

'The Being' aka 'The Pottsville Horror' is a low budget monster movie filmed in the greater Boise area during the early 80's. While the movie is pretty bad it is currently available for free on Amazon Prime (be aware film contains some nudity and gore) and I found it fun to look for recognizable locations. Main Street in Meridian is prominently featured and I think the restaurant in the picture may be The Sunshine Cafe. I also think I recognized both the Epworth Chapel on the Green and the Grandview Hotel, the latter appearing on a movie within the movie. Said movie within the movie is shown on the screen of a no longer extent drive-in near the Karcher mall.

The directorial debut of Jackie Kong, a rare-ish example of a female horror director, she is perhaps best known for the cult film 'Blood Diner'. Despite a clearly small budget, and one of the worst scripts I've ever seen put to screen, the film boasts two previous (Jose Ferrer, Dorothy Malone) and one future (Martin Landau) Oscar winner. As well as Ruth Buzzi and her husband Kent Perkins. The films producer Bill Osco is the films lead, a small town sheriff who looks kind of like Alan Arkin. Then Mrs. Kenny Roger's of the time Marianne Gordon is the love interest.

Plot involves a monster, who might be an alien, or might be a mutant product of nuclear waste, or might be an alien mutated by nuclear waste, or possibly Dorothy Malone's lost son Michael praying on the denizens of a small town over the Easter weekend. Sheriff Osco teams up with a reluctant government scientist played by Landau to defeat the creature, who is played by former munchkin actor Jerry Maren.

Though shot in Idaho the filmmakers don't seem highly versed in the layout of the state, Pottsville is supposed to a potato growing community, yet Landau's character is said to be an employee of Ada county, which is the wrong side of the state of potato's.

Again this movie is really horrible, an only occasionally funny horrible. Still might be worth seeing out of a warped sense of civic pride. *