A Dirty Shame2004
Directed by John Waters
Highly touted prior to its release as the first opening NC-17 film to be advertised on television, most people missed A Dirty Shame during a brief theatrical run, and it was largely forgotten. What a shame, because John Waters most recent effort accomplishes something many thought impossible; A Dirty Shame walks the tightrope between his older, more graphic fare (Desperate Living and Pink Flamingos) and his more recent “harmless” films (Hairspray, Cry Baby, and Pecker).
Tracey Ullman heads up the film as the uptight Sylvia Stickles, a woman who is so embarrassed by sexuality that she locks her daughter Ursula Udders (played by Selma Blair) in her room to conceal her outrageously augmented mammaries. Sylvia’s world is turned upside down, however, when she’s struck on the head and becomes a ravenous sexual lunatic, with the guidance of Ray Ray Perkins (played by Johnny Knoxville with all the swagger of a young Elvis Presley.) Ray Ray introduces Sylvia to the underground culture of sexual fetishism in Baltimore, and reveals that she is the prophet sent to them who will usher in the next level of carnal experience.
While it sounds awfully filthy, A Dirty Shame is actually quite funny, and doesn’t dwell on fetishism (which includes dressing up like a baby, smearing food on yourself, or the “bears”) but plays with the notion that sex is unnatural. The film is largely inoffensive, with the exception of a scene where Sylvia picks up a bottle of water using her you know what in a nursing home, but even that is more in the spirit of fun and less about shock value.
Waters peppers the cast with great character actors, including Chris Isaak, the aforementioned Ullman, Blair, and Knoxville, but also uses his regular troupe, among them Patricia Hearst, Mink Stole, and Jean Hill, plus an eleventh hour surprise cameo from a certain Bay Watch veteran.
A Dirty Shame is nothing to be embarrassed about watching; if you’re so inclined, I’m sure there’s a lot you can learn about in this movie, and at 87 minutes it hardly overstays it’s welcome, and anyway, it’s a hoot. A warning to hankie grabbers: the film’s NC-17 rating exists for the same reason Clerks initially got it, which is to say there’s a lot of talk but not much action.
*note – for those not inclined to be seen renting a movie rated NC-17, an R rated cut exists, but director Waters admits it’s entirely made of alternate scenes and is utterly harmless, and therefore maybe too tame.
Primer
2004
Directed by Shane Carruth
What a first glance appears to be a cautionary tale about the dangers of abusing science, Primer is actually the sort of brain-bending science fiction that rewards multiple viewings, and you won’t mind because a) it’s only 77 minutes long, and b) the film grows richer and richer with each reveal.
The film begins in earnest with four engineers trying to get their company up and running with something new and revolutionary to the scientific community. As time passes on, two of them slip out of the picture, and the remaining fellows make a radical discovery; they’ve found a way to transport matter six hour backwards in time. They continue to experiment, and then one of them presents the other with a larger surprise: he’s created one that a person can fit in.
At first they use it to make a small fortune using stock market numbers, and then their plan begins to spiral out of control when their ambition exceeds their conscience. What makes Primer work is that we’re treated to science fiction in a realistic way: none of this seems too implausible or outside the realm of what could happen, and the ensuing chaos and unraveling of layers may be confusing at first, but the more you pay attention to, the more fascinating this film is.
First time director Shane Carruth made Primer on a practically non-existent budget, shooting digitally with available light and casting himself and his friends, and while the low budget is on display insofar as film quality, the movie itself gains a grainy realism that would ring hollow in a major studio production.
This is certainly worth picking up and watching once, and if you like it or just wondered “what the hell happened?” give another sit through. You won’t regret it.
Trees Lounge
1996
Directed by Steve Buscemi
A movie lost in the shuffle of the indie revolution, Steve Buscemi’s directorial debut is a confident, laid back look at a man who has nothing worth living for. Consider Trees Lounge as a counterpart to Buscemi’s role in Ghost World, but imagine that instead of spending his money on arcane jazz records, he went over and over again to wean himself of the teat of the local bar. Every town has one; the watering hole where the same faces sit day in and day out, slightly drunk and ready to tell you about the good ole days.
Trees Lounge
1996
Directed by Steve Buscemi
A movie lost in the shuffle of the indie revolution, Steve Buscemi’s directorial debut is a confident, laid back look at a man who has nothing worth living for. Consider Trees Lounge as a counterpart to Buscemi’s role in Ghost World, but imagine that instead of spending his money on arcane jazz records, he went over and over again to wean himself of the teat of the local bar. Every town has one; the watering hole where the same faces sit day in and day out, slightly drunk and ready to tell you about the good ole days.
Trees Lounge is the name of the bar in this particular corner of celluloid America, and Buscemi (who also wrote the film) plays Tommy, a local boy who never grew up. His girlfriend left him for his old boss, and he spends most of his time drifting about in the hours between opening and last call. Eventually, he gets a job as an ice cream truck man, and meets a much younger girl (played by Chloe Sevigny, fresh off her role in Kids) and one thing leads to another, but without such dire consequences. After all, this is a man with little ambition, and the outcomes are as muted as his outlook on life.
This is not to say Trees Lounge is boring; quite the opposite. The film is an amusing dramedy about being adrift and getting ahold of your life, but as opposed to most coming of age stories, this one happens to be about being in your late thirties. Buscemi fills the bar and surrounding town with plenty of familiar character actors, including Seymour Cassel, Mark Boone Junior, Anthony LaPaglia, Debi Mazar, and Samuel L. Jackson.
Don’t go in expecting anything flashy, but Trees Lounge is a fine character study from a character actor who knows what he’s doing.
Coffee and Cigarettes
2004
Director Jim Jarmusch
It isn't difficult to digest this movie. In fact, the title alone tells you everything that can be expected. Jim Jarmusch takes small groups of people (for most of the vingettes, two) and provides them cigarettes and, well, coffee. However, let me clarify something here. This isn't improvised, or at least, most of the conversations aren't. Too many little phrases and moments echo each other to be an accident (in particular, keep an eye out for musicians who double as doctors, nikolai tesla, and the shady nature of celebrity.) While Coffee and Cigarettes is slight, the segments are never too long to grate, and the really good ones make up for the lesser bits.
To wit:
-Cate Blanchett is a standout playing herself and her cousin, as are Alfred Molina and Steve Coogan in the same beat.
-The White Stripes discuss Jack's Tesla coil while Cinque Lee looks on (Lee, having appeared in an earlier segment with his sister Joie and Steve Buscemi)
-Iggy Pop and Tom Waits test each other and discover the diner's jukebox doesn't play either one of them.
-Bill Rice and Taylor Mead muse about the late seventies and champagne
and, in what's probably the most heard about segment, The RZA and The GZA offer Bill Murray helpful tips of losing that smokers cough (they also refer to him exclusively as "Bill Murray".)
See what I mean? There's really not a lot after the movie ends, but it's a pleasant hour and a half, and even if the Tom Waits / Iggy Pop scene goes on for far too long, and Roberto Benigni is almost impossible to understand in his scene with Steven Wright, well, it's entertaining enough. Jarmusch fans should enjoy it well enough, and it may appeal to other cinephiles.
Garden State
2003
Director Zach Braff
If there's one problem with Garden State, it's that the movie is too easy to love. This, understandably, is a minor problem, but waiting a few days between watching it and writing this tone my love of the film considerably.
Coffee and Cigarettes
2004
Director Jim Jarmusch
It isn't difficult to digest this movie. In fact, the title alone tells you everything that can be expected. Jim Jarmusch takes small groups of people (for most of the vingettes, two) and provides them cigarettes and, well, coffee. However, let me clarify something here. This isn't improvised, or at least, most of the conversations aren't. Too many little phrases and moments echo each other to be an accident (in particular, keep an eye out for musicians who double as doctors, nikolai tesla, and the shady nature of celebrity.) While Coffee and Cigarettes is slight, the segments are never too long to grate, and the really good ones make up for the lesser bits.
To wit:
-Cate Blanchett is a standout playing herself and her cousin, as are Alfred Molina and Steve Coogan in the same beat.
-The White Stripes discuss Jack's Tesla coil while Cinque Lee looks on (Lee, having appeared in an earlier segment with his sister Joie and Steve Buscemi)
-Iggy Pop and Tom Waits test each other and discover the diner's jukebox doesn't play either one of them.
-Bill Rice and Taylor Mead muse about the late seventies and champagne
and, in what's probably the most heard about segment, The RZA and The GZA offer Bill Murray helpful tips of losing that smokers cough (they also refer to him exclusively as "Bill Murray".)
See what I mean? There's really not a lot after the movie ends, but it's a pleasant hour and a half, and even if the Tom Waits / Iggy Pop scene goes on for far too long, and Roberto Benigni is almost impossible to understand in his scene with Steven Wright, well, it's entertaining enough. Jarmusch fans should enjoy it well enough, and it may appeal to other cinephiles.
Garden State
2003
Director Zach Braff
If there's one problem with Garden State, it's that the movie is too easy to love. This, understandably, is a minor problem, but waiting a few days between watching it and writing this tone my love of the film considerably.
Don't get it twisted, this is a great movie. Zach Braff put together something truly magic here: We're not just talking Wes Anderson's The Graduate (which, incidentally, is Rushmore), but at the same time, comparisons to Anderson are well made. Braff has a great eye of frame composition. Every shot is full of eye catching detail. And he's got a natural chemistry that makes him easy to relate to.
Admittedly, this isn't the most original idea for a movie, but you really don't mind seeing a movie about finding yourself and true love in the midst of tragedy because of how magnetic the cast is. Along with Braff, Ian Holm brings a subdued, nervous performance of a man who just doesn't understand his son, the always reliable Peter Sarsgard plays the affable loser that wants nothing more to smooth things over so well you tend to forget just how good he is at it. Then there's the revelation: Natalie Portman. I'd been so used to seeing her go half-assed in Star Wars that I forgot that this was the same Natalie Portman that blew everyone away in Leon. She's a force of nature in Garden State, but it's a testament to her talent that she never takes it over the top. This is the type of character that'd tempt some to go way past believable, but you never feel like she isn't a real person (even if that real person is a chronic liar who suffers from siezures. Speaking of which, kudos to Braff for avoiding the easy dramatic device of the free spirit heroine being dragged back to earth with a tragic seizure scene)
Garden State works because everyone involved wants it to, and where most movies would drag or take the easy route, things work so very well because we're invested in the characters.
* I should take a moment to talk about the music. My friend scoffed at my interest in Garden State, calling it "an advertisment for how awesome indie rock is" which, from the tv ads for the soundtrack, isn't that far off base. However, the movie, despite using indie rock as an almost excluse soundtrack, only directly draws attention to the music once. I think it's not as obtrusive as some might expect it to be (think of it as a more subdued version of Simon and Garfunkel's "Graduate" soundtrack)
DiG!
DiG!
Ondi Timoner’s documentary about The Dandy Warhols and The Brian Jonestown Massacre was a seven year labour of love, telling the tale of two bands on the rise; one of who makes it to (relative) success, and the other who implodes. The great joy in watching the film is seeing how each band approaches their rises and falls, and what it takes to stay alive inside the belly of the record company beast. While Warhols singer Courtney Taylor narrates the film, equal time is given to the Dandys and Anton Newcombe, the brilliant but unstable leader of the Jonestown Massacre. The bands pick at each other, are envious, and get together every now and then to play (or in one case, to crash the other band’s house for a photo shoot) but it’s not necessary to like The Dandy Warhols or The Brian Jonestown Massacre to enjoy the film. Better still, the dvd contains separate commentary tracks for each band, so we can hear their reaction to the film, how they’re portrayed, and how they saw things as 1996 turned into 2002.
Me and You and Everyone We Know
Director Miranda July moves from the world of short films to full length with this confident slice of life dramadey. Well, let’s take a step back, eh? July, who appears in the film, made a film that is at times evocative of Wes Anderson, Paul Thomas Anderson, Mary Harron, Sofia Coppola, and Terry Zwigoff, with the themes of a Todd Solondz movie. Yes, that is possible, and Me and You and Everyone We Know is a declaration of emerging talent wrapped up in the overlapping stories of a Short Cuts or Magnolia. A warning to the sensitive: this film deals with burgeoning adolescent sexuality, but not in a perverted way, per se.
Z Channel: A Magnificent Obsession
Z Channel was a pay cable station based out of California in the late seventies and early eighties, but it’s what Z Channel and its founder Jerry Harvey were about that makes it so important. Z Channel preceded HBO in a number of ways, but more importantly, Harvey was interested in showing movies that didn’t get a fair shake in theaters; films he loved personally and wanted to share with the world. Z Channel was the first cable station to show movies the way they were shot, in widescreen, and in blocks with similar films for marathons. Directors like Robert Altman, David Cronenberg, and Jim Jarmusch saw their films alongside movies like The Magnificent Ambersons, Heaven’s Gate, and Once Upon a Time in America, premiering for the first time in its original director’s cut. Harvey had a passion for films, and the people interviewed in this film rave about him, the least of which is Quentin Tarantino, who lived outside Z Channel’s broadcast range and only saw it through bootlegged tapes. Harvey’s life was cut short in the mid-eighties when his mental problems drove him to suicide, but the impact of Z Channel on what we know as home video cannot be overlooked, and A Magnificent Obsession is a great way to see that.
The Chumscrubber
The Chumscrubber is a bit like Donnie Darko, but with the sensibilities of I Heart Huckabees. There’s our hero who lives in a semi-permanent prescription stupor, his clueless parents and their clueless friends, and then there’s The Chumscrubber, and omnipresent video game, tv, and comic book character who wanders through post apocalyptic suburbia with his severed head at his side. To tell you any more would take away the fun of seeing it for yourself, but don’t expect another Donnie Darko. Just something distantly related.
The Life and Death of Peter Sellers
Stephen Hopkins cut his teeth in Hollywood making sequels to popular sci-fi and horror movies (A Nightmare on Elm Street Part 5, Predator 2) but in 2004 he made something quite different for HBO, something that, while critically recognized, never got the attention it deserved, The Life and Death of Peter Sellers. Based on the book of the same name, Geoffery Rush is Peter Sellers, whoever that is. The film gives us Sellers as a man without any identity of his own, partly the reason he was such a renowned character actor, because he slipped into the roles fully. Jealous to the point of acting childish, Sellers was a fascinating mess of a man and the movie covers his personal and professional life in a way many were never aware of. That and it’s damned good, too. Rush is fantastic as Sellers, who plays the movie as though he’s directing his own life story (and playing all the parts), and there are fine turns by John Lithgow, Stephen Fry, Emily Watson, Charlize Theron, and Stanley Tucci as Stanley Kubrick. A fine post modern biopic in the vein of American Splendor, The Life and Death of Peter Sellers is a must view.
The Machinist
Brad Anderson’s curious blend of the worlds of David Fincher and David Lynch may be best known for Christian Bale’s stunning weight loss, but it’s a hallucinatory trip down the dark corridors of the mind that keep us watching. Bale, who dropped down to 117 pounds, plays Trevor Reznik, a machinist who hasn’t slept for a year and is haunted by ominous visions of something he may or may not have done. As his sense of reality begins to unravel, he reaches out to the only people he knows, a waitress (Aitana Sánchez-Gijón) and a hooker (Jennifer Jason Leigh) who may know him better than he knows himself. If the ending lacks the punch it should have, then at least the journey there was effective enough.
The Jacket
Steven Sodebergh and George Clooney’s production company turned to short filmmaker John Maybury to direct their first major feature, a strange blend of Jacob’s Ladder and One Flew Over the Cuckoo’s Nest. Adrien Brody is a Desert Storm veteran who’s suffering more than a little brain damage from being shot in the head twice, and when the man he’s hitchhiking with kills a police officer, he can’t remember what happened. Assigned to the care of Dr. Thomas Becker (Kris Kristofferson), Jack Starks is subjected to a horrific series of tests in a mental facility, the worst of which involves being put into a straight jacket and locked in a morgue container under the influence of heavy medication. Starks awakens to find himself in the future, and by accident comes across a young woman (Keira Knightley) whose mother he helped out in 1990. When Starks discovers his death is imminent, his mission is a race against time to find out how he dies and if he can stop it. The Jacket benefits greatly from Maybury’s vision as a director: much of the film’s transitions have a Brakhage like feeling, and he has a fine eye and a great cast to sell the premise.
Wet Hot American Summer
Somewhere between when The State ended it’s run and when Stella began airing on Comedy Central, the central members got together and made a movie about summer camp in the 1980’s. Their bizarre sendup, written by Michael Showalter and directed by David Wain, has all the flourishes of the summer camp film genre, but filtered in such a strange way that we’re almost not sure if it’s funny the first time through. It is. Wet Hot American Summer is the only kind of movie we could expect from The State, a comedy troupe so devoted to the bizarre that it’s no wonder the show didn’t last. In addition to the half of the state that isn’t in Reno 911, Wet Hot American Summer also stars Paul Rudd, Janeane Garafalo, David Hyde Pierce, Amy Poehler, Elizabeth Banks, and Christopher Meloni (also known as the guy who looks like Elias Koteas). Don’t be surprised if you find yourself watching it and saying “hey! It’s that guy” more than once, even if you aren’t sure if you like it. Watch it a couple of times and let it sink in.
The Most Dangerous Game
While King Kong was wrapping up shooting and before effects work went underway, RKO decided to put the standing jungle sets to good use and make another movie they could release before Kong, using much of the same cast, crew, and even the same director. Based on Richard Connell’s story of the same name, The Most Dangerous Game is the tale of a trophy hunter who survives a boat capsizing and finds himself of an island owned by the mysterious Count Zaroff, who also enjoys hunting, but in a very different way. Starring Joel McRea, Leslie Banks, and Kong’s Fay Wray and Robert Armstrong, the film is a lean 63 minutes, but never runs out of steam. Do yourself a favor and hunt this one down.
Heavenly Creatures
Peter Jackson’s first foray outside the world of horror comedy was the true story of Juliet Hulme, who brutally killed her mother with the help of her best friend Pauline Parker. Though it sounds right up his alley, Heavenly Creatures is more of a drama with the hint of fantasy than an outright suspense film (the murder itself happens at the very end of the film). The movie proper deals with the growing relationship between the shy Hulme (Melanie Lynskey), and the outgoing Parker (Kate Winslet, in her big screen debut), much to the horror of their parents. Jackson displays an adeptness with the young actresses heretofore unseen in his earlier films, and brings the fantasy elements of their dream world (involving butterflies, castles, and clay knights) to the screen in a way that doesn’t feel hokey. Heavenly Creatures was the first indication to many that Jackson had much more in him than Zombie films, but it never got the audience it deserved.
F for Fake
Orson Welles’ free form film essay on the art of sleight of hand, be it magic, forgery, or film illusion is a wild ride that benefits from watching with a skeptic’s eye. While it seems Welles is pointing the camera at Elmyir, a master art forger, perhaps he’s looking at the man’s biographer, who also wrote a biography of Howard Hughes that turned out to be utter fiction. Or perhaps he’s pointing the camera towards his companion Oja Kodar, and her sordid tale involving Pablo Picasso. Maybe he’s pointing at himself and his critics, who chided him for never finishing his films. Maybe. Watch it for yourself and decided, and while you’re checking out Criterion’s first class dvd of F for Fake, put in disc two and watch Orson Welles: One Man Band, a feature length documentary about a number of films Welles began, but for one reason or another, never completed. The master is at work in F for Fake, so go see what he’s up to.
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