JEFF OF THE CINEFILES & UNFINISHED BUSINESS: HALL OF FAME – FILE #0075: THE FAN (*DER FAN) (1982)

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Written & Directed By: Eckhart Schmidt 

Cinematography: Bernd Heini

Editor: Patricia Rommel and Raoul Sternberg 

Cast: Desiree Nosbusch, Bodo Staiger, Simone Brahmann, Jonas Vischer, Helga Tolle, Klaus Munster, Ian Moorse, Wilfried Blasberg 

The hero-worship that Simone has for a pop singer is built to a crescendo until she passes out when she finally sees him up-close in a crowd of fans pushing him for autographs. She is later shocked when he lets her know that he does not love her. In an instant, she is caught “in a trance” and feels a murderous urge that is bigger than the both of them.

This review is spoiler-heavy. it’s advisable to watch the film first as this is more a discussion than a review.

This is a film one has waited quite some time to find and finally watch. It’s a film that it heard about over the years and looked forward to then saw a very, simply not as some cinematic lost Grail.

It’s a nice switch from the usual fan films where it’s usually a male stalking a female or stalking another male making it more homoerotic for the ladder, but in the former and obsession that they try to turn erotic or romantic.

A story that works like a mixtape has a different cut or see as time goes by. It’s also set at a time place and culture around a music scene that was modern at the time and very specific. 

This film deals with the same only from a female fan stalking a male rockstar. The girl is a teenager, and by far is the more gruesome of any star obsession film, as this is more a psychological drama rather than an action thriller.  

It can also be seen at first as a coming of age story that Can be seen as a rite of passage a crush on a superstar that gets to be an obsession as a fan for a teenage girl.

It also dives more into the psychology of the obsession as since it’s an underage girl it is mostly thought that it’s puberty and emotions taking over but soon realizes that it’s nothing more than a crush and that it should be rather harmless this film and the character takes it more to an extreme.

The film shows the depth of fandom, but also obsession. Believing that she is the only one who knows and understands him and that all the others are just there more for the money and Fame.

The film is more psychological than physical love it or hate it. It’s a conversation starter. 

The main character doesn’t speak much, except in her letters to the star and in monologues. Desiree Nosbusch Gives an unforgettable performance as Simone.

The audience witnesses how unstable she is to a degree in her day-to-day life as her obsession takes over all of her thoughts and actions and she cares little about anything else.

The audience suspects where it will mostly go or what will happen as the film takes its time with the situation, especially once she finally gets to meet him.

We watch as she runs away into Wonderland and finds a monster of sorts and sheep’s clothing that she believes to be her prince.

We watch as she somehow Wills her fantasy to come true with interest, and then practically the unraveling of what she sees as a romance, and what he sees as a hook-up.

Which is like an artistic love scene presenting themselves to one another before it seems to take a turn, and after he gets what he wants and is ready to throw her away or dispose of her. It is in close-up as we are now in her fantasy or viewing it through that lens once the camera pulls back after we are brought into reality just as she is.

We know something will happen, but can’t predict how severe, especially without the innocent and clean or at least non-exploit of the movie has been up to this point. It’s had its rough edges, but it’s practically been more passive, which makes it all the more upsetting.

This is not the type of film where you are waiting for a demise or where the film gets you excited or expecting any sort of violence. The film seems a bit off at first, then gets disturbing and gruesome.

The film even early on makes a point of presenting Hand-holding as a sign of who cares and who doesn’t.

Nothing that happens seems to be premeditated. Some could argue. The actions are to happen in the heat of the moment or being so young and emotionally out of control. 

It seems to go way too far though we might understand her initial act, becomes a mix of saving herself, but also still having a sick obsession and sickness with this rockstar.

The film is not as violent or as expected, though it might be the cut I viewed.

There is only one part that is not that believable as it is too clean and too fast, which is devouring him a bit cannibalizing him or at least pieces of him or at least the essence of him as a goodbye or farewell. That’s where it goes overboard but smart and getting away with fashion. Even though that is probably one of the more memorable parts of the film.

She doesn’t seem to learn her lesson as she is still delusional by the end and blocking out her act and now might be delivering his child who she believes will be reborn.

The film also has long drawn shots, but little dialogue, a synth-pop score that gets into your head. that goes well with the action and ending as once you step away from this film it is certainly one that you won’t forget easily.

The film does seem to have 3 acts 

Act 1 – Introduction/desire 

Act 2 – meet & greet romance 

Act 3 – the aftermath 

Grade: B

THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2023)

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Written, Edited & Directed By: Joanna Arnow 

Cinematography: Barton Cortright 

Cast: Joanna Arnow, Scott Cohen, Babak Tafti, Michael Cyril Creighton, Alysia Reiner, Peter Vack, Parish Bradley, Rushi Birudala 

A mosaic-style comedy following the life of a woman as time passes in her long-term casual BDSM relationship, low-level corporate job, and quarrelsome Jewish family.

This film feels like a collection of mundane experiences suffered by the main character well, also letting the film is autobiographical as it is written and directed by its lead, and her parents play her parents, and friends fill out the cast. 

The film would seem to most like a sad, sad comedy that would feel like it follows in the footsteps of such filmmakers as Woody Allen and Todd Solondz where there might be a kind of sadness about the characters who either seem to be taken advantage of or bring on the bad things that happened to them somewhat punished by society. 

Only what’s different is The main character isn’t so much a victim as she seems to welcome it and seems content with her life, relationships, and situations. The film is just trying to show her reactions to the situation, she finds herself in and she comes across as one of the more normal characters as all the other characters come off as rather quirky or disturbed. 

The film also tries to present BDSM relationships in a droll way. As a tries to show modern dating with a dry sense of humor. That at times comes across as brutally honest, but with humor.

There’s a film that’s not gonna be for everybody. it might take a while for you to get on its wavelength but once you do, it’s smooth sailing as long as you are digging what you have seen so far.

Watching the film, it almost comes across as a visual journal of our lead character. Where she doesn’t try to sugarcoat or make anyone including herself look good it’s presented matter-of-factly, even allowing herself to be for half of the film. 

For some the film or the situations as depressing and almost like a form of degradation. Which, for most, it might be, but here it actually shows the characters enjoying themselves for the most part.

Think Lena Dunham and her early films and even girls only with no real group of friends so that the main focus is on her and some odd supporting characters. As the tone goes from absurd to reality. 

The film might throw some people off at first you just have to get into it sensibilities as it does showcase as sensitive charm many times and it’s style and tone.

It definitely shows a singular vision where the first half of the film is more random and the second half seems to get more into a plot, whereas the first half of the film is more showing her day-to-day life and seeing various people other than a recurring boyfriend like character, the second half focuses More on her, trying to maintain a relationship with a new guy who’s not used to her form where it feels like the film has shown enough of her background at that point so that we see the character and trust her alone and not reacting off of a series of familiar characters so the second half is kind of like seeing a normal character interact with her and how they react

This film really shocked me at how enjoyable it was and how much one could get into the film with just the nitty-gritty and didn’t need so much dressing or packaging around it is definitely to try and watch. In the end won’t say it’s necessarily rewarding but as a film fan her artistry while semi-autobiographical it’s also admirable.

One can’t wait to see more films and art by her.

Grade: A 

LOUSY CARTER (2023)

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Written & Directed By: Bob Byington 

Cinematography: Carmen Hilbert and Lauren Pruitt 

Editor: Kristie Boustedt 

Cast: David Krumholtz, Martin Starr, Luxy Banner, Olivia Thrilby, Jocelyn DeBoer, Stephen Root, Macon Blair, Andrew Bujalski 

Man-baby Lousy Carter struggles to complete his animated Nabokov adaptation, teaches a graduate seminar on The Great Gatsby, and sleeps with his best friend’s wife. He has six months to live.

Watching this film is kind of like reading a novella. It’s not quite 90 minutes well short of it but over an hour and is more of a character piece with a lead character who sets up most of the film entertainment as he seems to be a very morose and depressed guy, surrounded by characters who are supposed to be friends, family, and colleagues who don’t seem to really like him, but keep him around as they think they are better than him or to make themselves look better in some kind of light

Did I mention this is supposed to be a comedy, to tell the truth, if it wasn’t for the actors being so likable in their rules and this undercurrent of dead comedy throughout the film really wouldn’t work.

Though it has a charm to it, it is ultimately a tragedy of comedic proportions as the lead can’t seem to ever catch a break through his own stubbornness at times and he is dealt.

Even his ex-girlfriend doesn’t seem to be fond of them, nor the woman he is sleeping with even his student who seems to find a fascination in him as much as he finds a fascination in her there more to make herself feel better with his bad luck.

This is for the viewer who likes their comedy warped and sad but funny enough to keep from being down in the dumps and far from tragedy. 

Veteran character actor David Krumholtz in the rare leading role totally sells his character and the film and is what makes this film so watchable. It tries to take a stab at the intellectual college crowd, though offers a bleak outlook that is more humorous than depressing, which is what makes the film stable and keeps the audience engaged.

The film even offers a joke at the end for the audience and on the audience. 

Grade: B 

CRIMES OF THE HEART (1986)

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Directed By: Bruce Beresford 

Written By: Beth Hanley 

Cinematography: Dante Spinotti 

Editor: Anne Goursaud 

Cast: Diane Keaton, Tess Harper, Jessica Lange, Sissy Spacek, Sam Shepard, David Carpenter, Hurd Hatfield, Beeson Carroll  

Three sisters with quite different personalities and lives reunite when Babe, the youngest, has just shot her husband. Oldest sister Lenny takes care of their grandfather and is turning into an old maid. Meg, who aspires to make it in Hollywood as a singer and actress, has had a wild, man-filled life. Their reunion is joyful but also stirs up much tension.

This is one of those films that seems to be a claim for its time and while it’s not horrible, not a film can easily get into.

As the story is obviously based on a play and that they’re in lies the problem as lived in as the direction production design and dialogue, tries to feel the acting feels like it is more a writer’s invention rather than necessarily natural.

So that throughout while quirky and revelatory, and at times it might seem relatable. It always feels more like a production than anything that rings true. This can be fine but for such a film that wants us to feel down deep at times, it feels almost like a designing women episode that’s been extended.

Not to mention some of the stories, mindset, and plot lines that make up this film might’ve been passable and somewhat racy back then, but now it feels more taboo and unacceptable, and today’s climate.  

One can understand going for realism, but there is one scene in the use of racial language that just seems maybe natural for the character but just seems inappropriate for the film, and the mood and tone that it seems to be going for don’t sink into the film just throw it off at times. Same thing where Sam Shepard Dr. character has messed up teeth for no reason then to maybe make Shepard not seem like such a dreamboat and more like a regular character or a guy. You might wonder why when this film is hardly a bastion of realism half the time.

All the performances are great and Tess Harper, who got a Best Supporting Actress Academy Award nomination for the film truly does stand out as more of the thorn in the side of the characters a busybody, who is always opinionated and shockingly memorable. She is barely in the film. 

This film should be a great triumph with such dramatic actresses altogether on the big screen all at once such as Jessica Lang, Diane Keaton, and Sissy Spacek, and they all are given much to do and characterizations, but unfortunately, the film just doesn’t feel that big or special maybe that strength is that supposed to feel subtle. No, it doesn’t come off as satisfying, and by the end, it just feels like it just stops instead of having any real feeling of resolution.

Grade: C 

LIFE STINKS (1991)

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Directed By: Mel Brooks 

Written By: Mel Brooks, Rudy DeLuca And Steve Haberman

Story By: Mel Brooks, Ron Clark, Rudy DeLuca and Steve Haberman 

Cinematography: Steven Poster 

Editor: Michael Mulconery, David Rawlins and Anthony Redman 

Cast: Mel Brooks, Lesley Ann Warren, Jeffrey Tambor, Stuart Pankin, Howard Morris, Rudy DeLuca, Teddy Wilson, Billy Barty, Brian Thompson, Raymond O’Connor, Mike Pniewski 

A filthy-rich businessman bets a corporate rival that he can live on the streets of L.A. without the comforts of home or money, but it proves to be tougher than he thought.

It took me a while to finally get around to watching this. After this film, I still only have two Mel Brooks-directed films before I officially finish the collection of all his movies. as over the years are just so enjoyable and re-watchable

I still need to see 12 CHAIRS and DRACULA, DEAD AND LOVING IT.

This film has all the qualities and insight of an original Mel Brooks comedy, yet it doesn’t feel like it plays now or even when it was released the rhythm just feels off even though the jokes and social commentary are there

It might be because he’s not working with many or any of his past collaborators as much here so he’s working pretty much with an all-new cast and crew.

Here again, he is at the center of the film as the main character and while they’re plenty of quirky and wacky side characters, none of them is that memorable or strong enough to steal the show or make an impact. This is usually what happens with films and so this film is mostly on his shoulders, especially as this isn’t really a spoof, but more of a general comedy.

This film seems to be in the realm of outlandish, laugh out loud, comedy, but maybe as it is somewhat in reality, it comes across more as cute and chuckle-worthy more than anything else

Everyone tries and is OK for the most part, but this feels like one of his least inspired films even as he has gone on record to say he believes this is one of his best acting roles.

One really wants to like it, but it reminded me why you took so long to finally watch it in full.

One can see why he immediately went back to spoofs for his next and last films.

This film is more for completists only as it’s the film that’s not the best but good enough for fans and will appeal to their sensibilities

Grade: C

THE MAIN EVENT (1979)

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Directed By: Howard Zieff 

Written By: Gail Parent and Andrew Smith 

Cinematography: Mario Tosi 

Editor: Edward Warschilka 

Cast: Barbara Streisand, Ryan O’Neal, Paul Sand, Whitman Mayo, Patti D’Arbanville, Richard Lawson, Chu Chu Malave, James Gregory, Earl Boen

A bankrupt entrepreneur attempts to recoup some of her losses by getting a washed-out boxer she picked up as a tax loss back into the ring – an idea her protégé isn’t fond of.

Don’t get me wrong. I am a huge Barbra Streisand fan of music and movies, though I have to say this film is a major dud. 

As it is so by the numbers and feels or put together by a studio, looking to make a star film rather than a film. That reason Streisand usually stars in more romantic films, She just needs to find the right leading man, and the film, or at least the chemistry will entertain and and practically write itself.

Unfortunately, that doesn’t happen as Ryan O’Neal her leading man is never believable as a boxer. He can be quite charming and isn’t a bad romantic lead. He’s not a strong one either it doesn’t help that the two have no chemistry.

It doesn’t help that he comes across as prettier and more of a primadonna than she does in the film. who could have been used to comedic effect and helped the movie. Unfortunately, it’s never acknowledged or used. 

The film isn’t even basic. It’s just disappointing where the most memorable thing is Miss Streisand‘s distracting hairdo which seems to look like an Afro. That makes her appear more clownish.

The film even has an inventive introduction for her character, using her profile which she is known physically at the time

The film is never quite believable and not really funny. Despite the many jokes used

The film tries to feel like a 1940s-type romantic comedy of backing forth to find success when there are plenty of challenges, but by 1979 the film comes across as two chased in lightweight. A wanna be Tracy-Hepburn-type film

The film was made. Wow, Barbra Streisand was dating her manager John Peters and it seemed when they made films together. She went from working with classic directors of yesteryear. To more modern upstarts, who didn’t have as much gravitas or flare who are easier to control, even if they had notable credits beforehand. It seems to be the same route Jennifer Lopez the actress and singer was trying to emulate.

The film is lightweight and instantly forgettable, never develops a rhythm, and becomes quite boring very fast. The stars of the film never seem to have any hard-fought victories. Everything falls into their lap with the least amount of ambition or work. 

GRADE: D

HOT STUFF (1979)

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Directed By: Dom Deluise 

Written By: Donald E. Westlake and Michael Kane

Cinematography: James Pergola 

Editor: Neil Travis 

Cast: Dom Deluise, Jerry Reed, Suzanne Pleshette, Ossie Davis, Luis Avalos, Marc Lawrence, Richard Davalos, Alfie Wise, Barney Martin, Sydney Lassick, Bill McCutcheon, Pat McCormick 

Three cops try to set up a sting by establishing their own Fencing operation. They have less than complete support from above and as they begin mingling more and more with the underworld elements decide to finance the operation through re-selling some of the proceeds.

Watching this movie is the equivalent of watching an old failed sitcom. As this unfortunately is a very disposable movie. 

As soon as you are finished watching. It’s easily forgettable. It would be a streaming original these days.

It has an eclectic yet noteworthy cast and a plot that is cute but hardly noteworthy. Which is a shame as it is one of the few movies lead actor Dominique Deluise not only starred in but has his kids in.

It’s rare to see Jerry Reed in a movie where he gets the girl. Other than that the movie is supposed to be of its own time though seems even corny and behind for when it was released or way too comfortable with a studio comedy that plays more like a TV movie.

There is truly only one memorable scene in the whole film and it’s when Don’s character tries marijuana for the first time.

As a fan of Dom DeLuise, one of my favorite comedic actors. It feels like never got the proper respect or the right projects to truly show his brilliance. Even as he seems to have said yes, to way too many projects, unworthy of his true talents, and hoping for a breakthrough he still gave his all. Unfortunately, this led to watering down his own brand.

Unfortunately, this film isn’t one of the better projects, even though he directed this project as he gets his moments, but this film seems more devoted to other actors and characters throughout the film.

It feels a bit like a home video. This feels like a film that was much more fun to make and have fun with behind the scenes. Then what is on the screen. Dom Deluise even cast his real-life wife and children at the time as his family and various roles. 

The film has truly over-the-top performances at times while others are understated and it’s quite a product of its time includes a big set piece at the end that tries to make up for all of the shortcomings and include most of the characters we have seen throughout.

This is a caper comedy where much of the enjoyment of the film is centered around the camaraderie of the characters and the quirky characters that come in and out of the shop and they form a relationships with. There is a little action. Everything here feels a bit familiar good for the times, but watching it now is a little bit out of date but it tries. As it’s just silly

Grade: C

ENTER LAUGHING (1969)

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Directed By: Carl Reiner 

Written By: Carl Reiner and Joseph Stein

Based on the Novel by: Carl Reiner

Based on the play By: Joseph Stein 

Cinematography: Joseph Biroc

Editor: Charles Nelson 

Cast: Reni Santoni, Elaine May, Jose Ferrer, Shirley Winters, Janet Margolin, Jack Gilford, Michael J. Pollard, Rob Reiner, Don Rickles, Nancy Kovack, David Opatoshu 

A young would-be actor seeks his first break.

This is the directorial debut of Carl Reiner after a long career intelligence. Based upon the play of the same name, this is a coming-of-age story that has screwball comedic elements at times but mostly stays on that fine line of comedy and trauma, though a little more lighthearted

Watching it under a modern lens, it feels a little flat, but it constantly has jokes a mile a minute and the film does have highlights. It’s quite a production.

It has a strong cast. Elaine May is sexy and hilarious one of the bigger and more memorable roles that she has played where she’s usually hilarious but this is one of a few times where she has truly lit up the screen and been sexy, sensual, goofy, and nice. A lead actress in the play hires the kid because she is attracted to him even though she knows he’s a horrible actor, she has a soft spot for him.

The lead is played by Renni Santoni, these days a well-known character actor, but then just starting out, and while he does look a little long in the tooth for the main role, who is supposed to be someone just out of high school he role out in the best of ways.

Don Rickles steals his brief scenes as he is fun and full of spirit not necessarily insulting as much as anything man does it is believable.

Jose Ferrer is also a stand-out as he is yet can be funny and is just a master of the dead. This is one of the first of his where one truly remembers him and he truly stands out.

The film leaves a long build-up that is worth it as the second half is where the film comes alive in the play that it builds up to that the characters performing in is a hilarious comedy of errors. 

It reminds one of the movies, We used to see on the cable channel Flix, which showed films from yesterday that weren’t necessarily well-known cinematic classics but are actually hidden gems that you can appreciate watching now.

In the end, the film is kind of sacred, and might find it corny or too safe humor and it’s not as funny as expected, especially with all the talent involved, but it is enjoyable and has a sweetness to it.

Though at heart contains that wild spirit of youth to make your future. Only having at times to come back down to earth when it comes to responsibilities. However, that doesn’t mean it won’t be a meaningful ride. 

Grade: C+

BABES (2024)

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Directed By: Pamela Adlon 

Written By: Ilana Glazer and Josh Rabinowitz 

Cinematography: Jeffrey Kim 

Editor: Elizabeth Merrick and Annie Eifright

Cast: Ilana Glazer, Michelle Buteau, Hassan Minhaj, John Carroll Lynch, Stephen James, Oliver Platt, Sandra Bernhard, Elena Ouspenskaia 

Lifelong friends Eden and Dawn, one single and wanting a baby, the other already a mother, navigate challenges to their bond when Eden pursues pregnancy alone after a one-night stand.

This film should have been a slam dunk but it seems like there are two forces working against each other throughout. Where on the one hand you have more raunchy comedy and outlandish moments. That is more par for the course when it comes to star Ilana Glazer. The film carries that sensibility. Which works but at times seems more shocking at times and somewhat truthful.

Yet the direction and tone of the movie fits director Pamela Adlon’s series BETTER THINGS. Which can be funny and humorous as well as truthful. It mixed in with a dark tone with sentimentality. Works half the time but then at other times seem to be battling each other.

The film does manage to entertain the audience and get them to care and even feel emotional in the third act. 

This film works better than Ilana Glazer’s last starring role FALSE POSITIVE. Here she is charming and slowly coming into her own. Though wish the film could be as hilarious as its trailer seemed. Though it seems to soften quickly. 

Michelle Buteau is solid, believable, and funny as always. 

The film isn’t bad. It will get you teary towards the end, and it really drives home there. Where it offers a look at motherhood and single motherhood. That would also feel like a bunch of downtown comedians got together and tried to make a film, though with more heart but plenty of comedy.

It would have been nice if we could have spent more time with the baby’s father and his fate was handled better, rather than just kind of a joke. 

While this might seem like a harsh review. I will admit that I am not the ideal audience for this film, but like many who will watch it. It does remind one of those special close friendships. 

Grade: C

SPREAD (2024)

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Directed By: Ellie Kanner 

Written By: Buffy Charlet 

Cinematography: Corey MacGregor 

Editor: Jason Dale and Freddie DeLaVega

Cast: Elizabeth Gillies, Harvey Keitel, Diedrich Bader, Doira Bird, Teri Polo, Keith Walker, Dia Frampton, Bryan Craig, Blake Harrison, Jonah Platt

To make ends meet, an aspiring journalist is forced to take a job at the world’s largest porn magazine-beginning her journey to change her life, and the porn industry, forever.

I will admit I didn’t know what to expect from this film as at first when I saw the trailer I thought it was for a comedic series, not a movie. 

The movie does at times feel more like a pilot for a series. As it has a similar foundation to a workplace comedy that mixes in with life. The quirky coworkers, the love interest, the interesting characters that are more comedic that they do business with or come into contact with.

At heart, this is a raunchy sex comedy that luckily exploited and is a bit clean-cut as there is barely any nudity nor that many sex scenes. It’s not as Taudrey as one would expect.

The person who actually got me to watch this is lead actress, Elizabeth Gillies. I have followed her for quite a while, and while this is in her wheelhouse of characters, she is in her element with the wisecracking in one-liners, still endearing, and not to mention charismatic when it is called upon. It’s the first time I’ve seen her play a leading role in a movie. One hopes to see more of you.

It’s the story of an ambitious young woman who finds her niche and helps to build a business. She’s not perfect, but she is identifiable. As well as entrepreneurial.

This is a good film. That’s easy to watch and stays entertaining throughout. It’s simple easy-going and happy-go-lucky. That does offer conflict, but it never seems quite tragic.

There might be a lack of big comedic pieces, but the comedic moments and dialogue are satisfying, and it keeps you engaged and paying attention throughout.

Grade: C