THE LIVING END (1992)

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 Written, Directed, Edited & Cinematography by: Greg Araki

Cast: Craig Gilmore, Mike Dytri, Darcy Marta, Johanna Went, Mary Woronov, Paul Bartel 

Luke is a gay hustler. Jon is a movie critic. Both are HIV positive. They go on a hedonistic, dangerous journey, their motto “Fuck the world”.

Even though this is writer/director Greg Araki’s first film. This is one of the latest of his films I have actually watched. I have seen all of his work from the film THE DOOM GENERATION (His first self-proclaimed openly heterosexual film. His third actual film and the second in his teenage apocalypse trilogy) on.

I didn’t like that film. The film did fascinate me with its style, anger, and punk sensibility. This is why no matter what I always give Araki’s film a try.

This is his debut film. Where he pretty much made the film on his own. but also this was the start of the New Queer Cinema movement. 

Here the film doesn’t pull any punches. It is punk all the way. Angry, in your face, violent, no rules, and funny. The film has it’s messages and stylish selections throughout.

This wasn’t a film where its main characters were gay and sexless. Nor supporting characters in some straight love story. Or comic relief. They were the protagonists and very sexual which we see and good looking. Though also both are dying.

The film offers commentary on the world through side characters and their matter-of-fact dialogue. That works on a commentary of the social scene at the time.

It also offers a violent story with two lovers on the run. That actually seems like it is headed for tragedy and violence. It shockingly becomes something that is personal, emotional, and actually about the characters makeing a connection In all the chaos that is supposedly normal life. 

The characters and film both have a nihilistic outlook but end with finding connections and hope on the edge. Leaving a message of living life to the fullest While young. As the characters are the ultimate attractive outsiders who manage to find one another amongst the chaos.

The film wears its influences in it’s background with various new wave and Avant-garde film posters pampering the walls. Not to mention a cameo from cult actress Mary Woronov.

The film has a certain energy and excitement that it never keeps up with at first and that you think will keep up, but it slowly starts to pump its breaks and go slower and takes its turns with the characters. Losing its urgency but allowing for more depth. Still driven by music or the soundtrack. That comes off as inner monologues at times. 

Though there are straight supporting characters the film stays mainly with the main couple.

The film is less violent and more talkative than one would expect. 

As the film goes along they are lovers on the run whose relationship starts off more sexy and exciting. Though as the film goes along they get to know each other and form a bond and relationship. Driven by sex and end up finding love in their own nihilistic lives.

Random strangers in the background carrying messages that end up being the film’s sly commentary. As well as comic relief.

I can’t say I love this film, but it kept my interests mostly throughout and was refreshing to see a love story that was sexual and not fluffy necessarily that just happened to be a homosexual love story. It’s down and dirty and penetrating In many ways 

An interesting take on modern love at the time. 

Grade: B

RAMPART (2011)

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Directed By: Oren Moverman 
Written By: Oren Moverman & James Ellroy 
Cinematography By: Bobby Butowski 
Editor: Jay Rabinowitz 

 CAST: Woody Harrelson, Robin Wright-Penn, Sigourney Weaver, Steve Buscemi, Ice Cube, Brie Larson, Anne Heche, Ben Foster, Cynthia Nixon, Ned Beatty, Jon Foster, Jon Bernthal 


Set in 1999 Los Angeles, veteran police officer Dave Brown, the last of the renegade cops, works to take care of his family, and struggles for his own survival. 

Woody Harrelson does what is called for, he seems natural in the role. The film just fails him as it gives us plenty of his background but doesn’t give us a compelling story to follow him through.

I will admit though I was more impressed by his performance in the film THE MESSENGER.

While there is a riveting story and a character study buried in here. It is never utilized to allow a greater more elaborate performance. The film seems misdirected while trying to go natural.

Then all of a sudden artsy camera movements and angles. It’s like the director didn’t know how exactly to set up shots for the best quality of the scene. So he cut together various bad ones. Considering the film is co-written by James Ellroy.

It gets the grittiness correct. As well as the political and inner workings of the L.A.P.D. But half of the bigger name actors seem only to be here in glorified cameos. They seem to only be in the film because they were attracted by the prestige. There is one scene of true originality.

When the chips are down and Woody’s character goes on a bender to an underground Club. Where sex and debauchery are going on all around him. Drunk and on any numerous narcotics. He walks through the club when the screen goes blank and over the next few minutes there are flashes of action bathed in the red light of what is going on in the club. It sneaks up on us and plays like his character going in and out of consciousness. So we are with him throughout the experience. The rest of the film is so unfulfilling that it pushes Mr. Harrelson’s performance to seem great otherwise compared to the rest of the film. Like a consolation prize.

The film shows that he seems to be living the role and reacting to what is thrown at him. Most of the other roles are underwritten and just woven into the tapestry to shape and show unspoken subtle things on the fringes. There are the makings of a great film here.


It’s a shame the film has good actors who seem stuck and misused in film.


GRADE: D+

TRIPLE 9 (2017)

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Directed By: John Hillcoat 
Written By: Matt Cook 
Cinematography By: Nicolas Karakatsanis 
Editor: Dylan Tichenor 

Cast: Chiwetel Ejofer, Casey Affleck, Norman Reedus, Anthony Mackie, Aaron Paul, Woody Harrelson, Clifton Collins Jr., Kate Winslet, Gal Gadot, Teresa Palmer, Michael K. Williams, Michelle Ang, E. Roger Mitchell 

A crew of dirty cops are blackmailed by the Russian mob to execute a virtually impossible heist. The only way to pull it off is to manufacture a 999, police code for “officer down”. Their plan is turned upside down when the unsuspecting rookie they set up to die foils the attack, triggering a breakneck, action-packed finale filled with double-crosses, greed and revenge.

The film feels like the story should have added up to something bigger and more meaningful. Like how each character was a puzzle piece as we wait to see how eventually they will all fit together. This is clearly a manly man film that drips of machismo though for all of it’s toughness it does take time to actually show the complexities of the situations they have found themselves in. As this is a heist film beautifully filmed but feels like a typical caper film only done more slowly and supposedly intricately. As the crew seems more forced and involves working for the Russian mob.

The film Doesn’t really highlight or fetishize the heists as much as other films. Here it is more done matter of fact. This film seems to care more about the characters involved.

The film doesn’t even seem too involved in what was the initial hook of the film. Where the cops in order to pull off a robbery plan on killing a fellow cop to distract all other police from them Pulling off a heist. Though with so many things going on in the film that all Lead to one another eventually and come to a head. Seems more realistic but also makes everything on the same level and never really that high up.

Even though most of the time it seems Chiwetel Ejofer as well as a few other characters seem to constantly be stuck between a rock and a hard place. Where it also seems the people who put them up for these robberies want them To fail as their actions seem to more sabotage them.

While the film comes off as more of an ensemble film. It also leaves a bunch of premonitions in certain characters words and actions and also while taking place in Atlanta’s it is unfortunate that while the film gives the most of characters a certain humanity. It also has most of the minority characters be criminals not necessarily evil but they seem more subordinate and characterized as the bad guys. Where as the more heroic characters of which there are only really 2 are both Caucasian though Woody Harrelson’s character isn’t the most moral he is seen as one of the good guys.

The film never truly explains the relationship between Chiwetel Ejofer and Gal Gadot’s Characters since they have a child but are they still together. Is she being dangled in front of him by her sister. Are they seperated?

Kate Winslet seems to let her outfits and make up do most of the work as she is given less to do and more exists as a presence, but clearly is having fun vamping it up more or less. She seems to be slumming here or more like a case of stunt casting. Replacing Cate Blanchett

The film stays within the films of director John Hillcoat’s usual films with pitch black stories and violent ends with characters who lore or less feel loved in. As next to LAWLESS, this is probably his most commercial film. He tends to make films that are more filled with agressions and machismo real manly men type films.

This film feels longer than it should and could easily have been shortened. As it feels like a film full of character and characters who get short changed more due to plot mechanics that while introduced in a different way feel way too familiar. The double crosses are expected but the triple crosses feel unexpected.

Woody Harrelson has fun with his role as a detective who while is no stranger to bending the rules he still manages to be a strong moral character. As he seems to have let the job get to him. Though as a veteran he also treats it more trivially. Replacing Jeff Bridges.

Casey Affleck as the new guy comes off on bit is handed a kind of bland good cop character. He was actually cast after both Shia Lebouf, Chris Pine and Charlie Hunnam dropped out of the film.

The film tries to be more about mood and atmosphere but never comes off that strong nor does it ever seem to find that right tone. As it almost tries to come off as a modern-day western but not one where you are expecting the gunfights. One that is more about bravery and strength of moral and character not to mention loyalty

Grade: C

WHITE OF THE EYE (1987)

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Directed By: Donald Cammell

Written By: Donald Cammell & China Cammell Based on the novel “MRS. WHITE” By: Andrew Klavan & Laurence Klavan

Cinematography: Larry McConkey

Editor: Terry Rawlings

Cast: David Keith, Cathy Moriarty, Alan Rosenberg, Art Evans, Alberta Watson, William G. Schilling, Mimi Lieber, Michael Greene, Danielle Smith 

In a wealthy and isolated desert community, a sound expert is targeted as the prime suspect of a series of brutal murders of local suburban housewives who were attacked and mutilated in their homes. As he desperately tries to prove his innocence, his young wife starts to uncover mysteries of her own…

This film is like a jazz album. One can’t quite get into or find the correct beat to connect with to groove with it. 

This film was recommended by quite a few people. Especially as it is one of the few films directed by Donald Cammell a popular writer and director of cult films such as PERFORMANCE.

As his films are usually out there it’s expected that his films will be a bit crazy. This one Certainly is it commits the sin of being boring for most of the film Until a totally bonkers ending. Which still doesn’t save the film as a whole. 

The film shows its Giallo influences only when it uses them in the daylight. These scenes are the only time the film comes alive and its artistic touches work to its advantage. Other times it seems like a film that is pretty Mainstream and more a studio product but presented in a style that feels peculiar and not for the better. That comes off pretty bland the first 2 thirds of the Film.

The camera work is unpredictable which is a thrill. It keeps you alert. Even the casting is inspired but in the end, the ingredients are there, but the dish served comes up short.

What saves the film somewhat or at least keeps you watching is David Keith’s performance that goes from mundane to romantic to off the wall. 

Alan Rosenberg doesn’t fare as well as he comes off like a New York stereotype at first who is dim-witted and then later comes across as a new age burnout. 

Cathy morality gets a chance to not play her usually big-haired villain or tough New York City girl. Here she gets a chance to just play normally as the lead who might be a little too trusting, but other than Be the audience’s introduction to the events and revelations she is given little to work with or do with her character to make an impression.

It also doesn’t help that this film is supposed to be sexy and have a lot of sex and half the time it is usually the opposite and the seduction doesn’t seem to raise the temperature. Even the sex scenes take a while for the audience to realize what they are doing.

The film’s theme seems to be nature vs commercialism. Which represents more of an Avant-garde film abs approach that eases into trappings of the more ridiculous commercialism. 

By the end the film made me come up with some thoughts when it comes to films such as these.  Where it seems we will make excuses for ourselves to explain why we just sat through all of this, but rationalize what we have seen by giving it artistic credentials because it tries to be artistic and different. When it did take a gamble that was misguided. Ultimately it might actually be bad but if the filmmaker had success before there must be some kind of deeper point 

Usually viewed by an audience who expected it. Usually mostly caucasian looking at it analytically abs since it speaks to them or is identifiable it must be good abs preached upon. 

GRADE: F

BUTCHER BAKER, NIGHTMARE MAKER (1981)

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Directed By: William Asher 
Written By: Stephen Breimer, Alan Jay Glueckman & Boon Collins 
Cinematography: Robbie Greenberg 
Editor: Ted Nicolaou 

Cast: Jimmy McNichol, Susan Tyrell, Bo Svenson, Julia Duffy, Bill Paxton, Britt Leach, Steve Eastin

Since the death of his parents fourteen years ago, Billy Lynch has been raised by his overprotective aunt Cheryl. But once he turns seventeen, he is soon set on planning his life…without her. He’s planning on going on to college and is dating local girl Julie. None of which sits well for his aunt, who’s lost everyone else in her life and now with her nephew ready to leave, ensures she starts on a campaign to keep him with her…forever. But as her plans misfire she becomes swept up in a cycle of psychosis and frenzied violence all being blamed on Billy by everyone else…including a homophobic detective, whose anti-gay prejudice is steadily reaching its zenith…leading to an unforeseeable outcome.

This film feels silly even for the time when it was released. Watching the film is a fun experience in its awfulness.

It’s entertainment is marred by its characters’ homophobia. This is disappointing as it easily could have been an unintentional camp classic. Surprised it hasn’t been embraced by a cult audience of not for anything at least the performance and gusto from Susan Tyrell.

The lead performance by Susan Tyrell gives it her all and goes way over the top. So unhinged In one of her rare leading roles.

So unhinged that as the movie moves along even her look begins to deteriorate. She is obviously wearing a wig and once her character cuts it she goes further off the deep end. It ends up being her real hair.

Revealing the killer wept on makes the movie more suspenseful. Especially as the film goes along, there ends up being few choices as to who it could be and where the film can go. 

The film has Bill Paxton in an early role as a jealous bully. Not to mention Julia Duffy as the teenage nephew’s love interest.

The film ultimately revolves around a serious obsession between the aunt for her nephew. Which also makes the film feel more suited for a drive in a movie theater. 

The movie’s special effects, the few that there Are, are so bad they become laughable especially when it cowls to stabbings and dismemberment. 

Memorably bad but the film Means well and tries hard. So that it is more entertaining and fun than scary. If this is a genre you particularly like.

It can be understood that homophobia was the Mood at the time. The film tries to justify that mood as evil by having one fo the good characters be gay. But also at the end, most of the characters with that discrimination end up dead. 

This is a film you look for more for fun than necessary thrills or any kind of horror 

GRADE: C

THE NAME OF THE GAME IS… KILL (1968)

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Directed By: Gunnar Hellstron 
Written By: Gary Crutcher 
Cinematography: Vilmos Zsigmond
Editor: Lou Lombardo

Cast: Jack Lord, Susan Strasberg, Collin Wilcox Paxton, Tisha Sterling, T.C. Jones, Mort Mills, Marc Desmond 

A desert family offers a traveling stranger its hospitality, but the stranger doesn’t realize exactly what they have in store for him.

This film is certainly an oddity the time had never heard of before.

The film is pretty basic in plot and relies heavily on its ending, which is meant to be shocking. So much so the film Mostly depends on it. Though offers two for one. Then leaves you with a Few questions it will never answer.

If you notice early in the film you can’t predict the end. Tone. even if you miss eventually the film will become predictable but then try to still get you 

So obviously this is a film to best go in blind or knowing as little as possible to get the best bang for your buck.

This is certainly the first time I have seen star Jack Lord in anything other than the show that made him Famous HAWAII FIVE-O and here he plays a Hungarian drifter with an accent. He does a serviceable job. Though you wonder about the intelligence of his character. As many times he is attacked and almost does from these attacks. Yet he keeps coming back to this family. Yet tries to rationalize it when it appears mostly to be lust.

Even as they are all obviously off in many ways. Though the one he seems to fall for in only one day. Where they talk about their love for each other already. Seems to be the sane one and the one who just needs love in her life.  

Whereas her sister’s one already has an instant distaste for him and lets it be known and the teen sister just seems disturbed as when we meet her the family mother is bringing her home after setting a cat on fire to punish someone who was picking on her. Who has she then Tripped down a set of stairs and broke their leg after killing the cat. All of this is scenes as teenage hijinks.

They all come onto him at some point in the film except the mother. As they are fetching in their own ways. Though most would have hightailed it.

The film also can’t seem to settle at times it says that no tourists stop and stay in the town. Yet later the sheriff talks about how the town is torn. They hate tourists but depend on them for income. Just as this family of females run a service station that no one tourists or townsfolk ever seem to come by or use.

Not to mention it’s hard to see how or why they would stay or live in this town as it comes off almost as desolate as a ghost town.

This is definitely a movie of its time. Making it today would be too obvious. As we have become used to these kinds of twists. Though for what it’s worth even if at times it seems ridiculous. It definitely keeps your interest. 

Grade: C+

DEATH RACE (2008)

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Written & Directed By: Paul W.S. Anderson 
Based on an original story by: lb Melchior & Original Screenplay By Charles Griffith & Robert Thom Cinematography By: Scott Kevan 
Editor: Niven Howie 

 Cast: Jason Statham, Joan Allen, Tyrese Gibson, Jacob Vargas, Natalie Martinez, Ian McShane, Frederick Koehler 

Each year we are given Jason Statham in at least 2 new action films sometimes he makes up for the lackluster ones with a good movie like THE BANK JOB, but then to make the money and please the action fans we get him starring in movies like this. 

I like to think of Jason Statham as the British Bruce Willis and about every three films that he appears in he makes a good one (Crank, The Transporter) the others run from decent (This) to downright horrible (Dungeon Siege)  This film while really being loosely based on the original film DEATH RACE 2000 doesn’t embarrass itself completely. It has a good cast and good action sequences. It reminds me more of THE RUNNING MAN with the falsely imprisoned man the satire of future audiences being entertained by prisoners killing each other in competitions and it being mostly about money and interestingly enough a sexy Spanish female sidekick. Both films starring foreigners. 

From this film and Paul W.S. Anderson’s career pretty much after his original films SOLDIER and EVENT HORIZON didn’t exactly light up the box office. It seems now that he prefers to either make his mark in the ongoing film series Aliens Vs. Predator or film movies that have been well established as video games or remaking movies that he uses heavy influences from another. Now having said that, He isn’t a hack but a decent commercial director. 

This film is good popcorn entertainment never boring but you can tell where it is going every minute. It is loud and action-filled. It’s rude and crude with nothing really original to say. It has its decadent indulgences like in the middle of the race a big bulldozer of a truck that takes out half the competition that has been presented as such a huge obstacle is taken out so fast you wonder if it was really needed in the first place. 

If you’re just looking for something entertaining without thinking too much this is the film. It’s very violent but with enough eye candy to smooth that over. Even with its dank surroundings. 

The film takes place in the future where corporations run the penal colonies since the unemployment rate is at an all-time high. Which causes crime to soar and prison overcrowding. The prisons are now run death races on pay-per-view to raise revenue and take out the prison population. 

So when reigning champion Frankenstein is killed there is a replacement needed and it just so happens a new prisoner is recruited to replace him as a former race driver on the outside. He is thereafter being falsely accused of killing his wife and promised freedom if he wins the death race. He just has to survive especially against Frankenstein’s rival Machine Gun Joe and a sadistic warden. 

Interesting how it almost ties into the current situation the world is finding itself in. Joan Allen is obviously slumming but unfortunately in Hollywood, as an actress gets older the harder it is to find worthwhile roles so at least if your name isn’t Meryl Streep, Glenn Close or Susan Sarandon. 

Ms. Allen relishes her role and sinks her teeth in as the main villain. This at least brings the movie up another level towards respectability. 

One must give mention to Natalie Martinez who is just so fine and who I look forward to seeing in better roles that at least really give her a part to play but at least here she is a nice part of the eye candy. 

 GRADE: C+

FUNNY GAMES (2008) (REMAKE)

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Written & Directed By: Michael Heneke 
Cinematography By: Darius Khondji 
Editor: Monika Willi 
Production Design: Kevin Thompson 
Art Direction: Hinju Kim 

Cast: Tim Roth, Naomi Watts, Michael Pitt, Brady Corbet, Devon Gearheart, Siobhan Fallon, Boyd Gaines 

In this English-language remake of a deconstruction in the way violence is portrayed in the media, a family settles into its vacation home, which happens to be the next stop for a pair of young, articulate, white-gloved serial killers on an excursion through the neighborhood.

Not as good as the original of course I think the real weakness of the film is not only going back and repeating something that was never wrong, to begin with just to expose it to a massive audience that might have not seen the film the first time just because it was in a foreign language.   

The remake doesn’t show growth but hey rockstars have to play their classic hits once in a while, Even with new band members. If they are willing to pay you to do it why not.


I think one other weakness this film has is that it is opened up more than the original, with more characters. Who are minor but it opens it up. which in the beginning was scarier and more intense because it was more intimate.


It’s not a shot-for-shot remake but is similar enough. Maybe the film doesn’t affect you because we already saw the original and know what’s going to happen. Whereas when you see the original it’s a shock and keeps you on the edge of your seat. Watching this is like watching an imitation even though it is by the same director. Maybe it is also because whereas there were no stars in the original. So anything could happen and It felt realistic. Seeing stars in this you know it’s just fake and doesn’t penetrate any of my emotions like it seems to be directed to. By bringing well-known actors into the film also gives them nothing to do but whimper in pain for two hours there are no great characters to play or great lines unless you have the villain’s role in this film.


you also notice that in the original the female star was in her underwear for a scene then gets clothed. Here Naomi Watts spends most of the movie in her underwear. Sure it’s great to look at but I guess it was meant to tap into American horror films as usually the females run around naked and in their underwear as they are stalked and killed rarely do they survive. In fact, there is no real violence shown only the aftermath. The only time there is violence it happens to one of the villains.


The main villain also doesn’t speak to the audience as much as he did in the original, maybe it was deemed annoying. The remote scene which seemed daring in the original seems like a gimmick here. Here in making it bigger, it is marketed as a thriller but shot like an art film with attention to detail and colors but with no real shown violence that the audience is waiting for.


It also plays with the conventions of films such as foreshadowing and making an excuse for the violent behavior, breaking the fourth wall, and the illusion that in the end, everything will turn out fine. The false hope that it can all turn around because that’s what happens in the film. They wouldn’t be that messed up.


It plays with the rules that you have come to expect and then just when you think it will follow narratives you have seen it switches it upon you.

The pacing also seems off that it makes the film almost seem boring. Some could look at it as satire. It is obviously a message movie because all that happens in the film makes you realize your own bloodlust and includes you as a co-conspirator in all that happens because you are sitting there watching for entertainment.

SPOILER:


Like the scene where Anna is then taken to the boat where she attempts to cut herself loose with the knife shown earlier in the film, only to have it taken from her as a way to mock the standard Hollywood foreshadowing. She is then dumped overboard and drowns as the two boys discuss school fiction and state the message of the film quite clearly by stating (in reference to a novel they read) “the family was real, the hero was in fiction”, demonstrating that violence is real and what occurs for entertainment happens in reality, however rising above the odds and becoming a hero only happens in fiction. And as a note, all of the killing is off-screen, this is a pro-reality but anti-violence film in its own brutal right

SPOILER END


Now I didn’t exactly write the last paragraph but it is summed up pretty well that I agree with it I say if you didn’t see the original this might be interesting but if you did you don’t really have to bother with this film. Trust me rent the original it’s a lot better.

GRADE: C

FATALE (2020)

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Directed By: Deon Taylor

Written By: David Loughery

Cinematography: Dante Spinotti

Editor: Eric L. Beason & Peck Prior

Cast: Hillary Swank, Michael Ealy, Mike Colter, Damaris Lewis, Tyrin Turner, Danny Pino, Geoffrey Owens, David Holpin, Sam Daly 

After a one-night stand, a successful married man finds himself entangled in a cunning police detective’s latest investigation.

This is a film I could see more getting made out of desperation or at least being seen out of that same feeling. As this seems the cheapest kind of entertainment when there might not be anything else to watch so you settle for it.

The film seems to hate or villainous women throughout. As there seems to not be a single positive female character. As the major ones are conniving, cheating or manipulative, and downright evil.

While one is happy to see multiple best actress Oscar winner Hillary swank in a leading role and she is good in the role but she definitely deserves better. As it seems Hollywood never quite knew how to use her or never seemed to find a stream of roles that worked with her strengths. As one of her talents is being a chameleon so she can fit into most roles. The problem is that leads her to have a light presence when a strong one is needed. 

The film does offer her a kind of Fatale role as the title tries to showcase her. Though even as she has a glamorous entrance and looks the part the movie has her in an initial seduction scene where we barely see any action and then another sec scene that is sudden and rushed. Far from being sensual. Which can only remind some of her role in THE BALCK DAHLIA the last time she was in a more erotic role. Which unfortunately seemed to damage a lot of the stars of that film. 

This is the type of movie in classic Hollywood would be more of a throwaway meant to bring together either studio contract stars who were on the way out and appeared out of contractual obligation or it would be a movie meant to bring two superstars together in the big screen and no matter how silly the film the audience was more there for the star power. 

The film goes in many different directions where it seems to confuse itself as to what exactly its Intentions are, for instance, the event that causes their reunion ends up being more intricate. Though we never even quite solve it.

It might be because the film tries to add so many different elements. Then wants to make sense or try to explain different motivations but has a hard time out of how ridiculous it has gotten through all of this is done with a straight face. Where by each passing scene it feels like it is losing its audience. As it comes across more like a season of a soap opera rolled into one movie. 

Shot by Dante Spinotti the film looks great as do the locations and actors. Trying to make it stand out colorfully and filmed more like a noir. 

So busy trying to titillate that it’s credibility flies . As things are heightened but with little payoff. 

The film Seems to have a happy cookie-cutter ending. Even though for all the entanglements that seem rather impossible. 

Grade: F

THE HOT SPOT (1990)

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 Directed By: Dennis Hopper
Written By: Nona Tyson & Charles Williams 
Based on The book “ HELL HATH NO FURY” by: Charles Williams 
Cinematography: Ueli Steiger 
Editor: Wende Phifer Mate

Cast: Don Johnson, Virginia Madsen, Jennifer Connolly, Willam Sadler, Barry Corbin, Charles Martin Smith, Leon Rippy, Jack Nance, Jerry Hardin, Virgil Frye 

Upon arriving at a small town, a drifter quickly gets into trouble with the local authorities – and the local women – after he robs a bank.

This is one of those films I have heard about over the years that has gained a certain reputation. As for some, it’s a lost classic for others it might be an overhyped potboiler. 

The film seems to be slow as the story is revealed in what feels like real-time. Which could feel monotonous for some audience Members, but actually works for the film. Not only as a slow burn but leaves the audience to kindly walk in the shoes of the characters. Never quite knowing what is going to happen next or the next shoe is going to drop.

As we go throughout of course this is a noir tale that feels familiar. As we recognize the types but still offers surprises. As to the depths of certain characters and the ever-present blackmailing of characters.

Though from the outset it seems obvious who is going to fall into bed with whom. As the obvious more attractive members of the cast are set. Showing who are the true stars of the film. They work in their roles but can’t say they subtly appear with the rest of the cast.

As director Dennis Hopper has so much talent in front of the camera and behind. Filled with plenty of character actors who more set the scenes even though they don’t have much to do but be there and be witnesses to the actions going on around them.

This fits into noir more comfortably as it is a cynical film where the more innocent characters are either made to suffer or are natural-born victims. Whereas the more deprived characters seem to be the more successful ones and the ones the film and more interest in as more naturally they are more interesting even if they all don’t make it to the end.

The film has the aura of the type of film you would find for straight to cable or straight to how. Video in it’s days of release. That is how it was more discovered after being a box office bomb. Though it clearly deserved more credit than that. 

While the film certainly feels dirty and sleazy. it never quite feels as erotic or sexy as it should. That element while here and strong, especially As Virginia Madsen scorches the screen and has one of her finest performances. As a character who could easily have been cliche but offers up some surprises. It never feels like it rises to the occasion.

As it feels though, a driving force to the story oddly secondary and more means to an end. It’s necessary but not concentrated and maybe Dennis hopper as a known hedonist decided to try to pull back a little and focus on performances.

Strangely Dennis Hopper directed movies other than EASY RIDER & OUT OF THE BLUE. Always come off as sterile to a degree which includes this one. Though that might be out of expectations considering the man and his legacy. His later directed films seem more sedate as they slowly come from wilder independent to oddly more mainstream studio films. 

Jennifer Connolly plays the young innocent who is hiding her own secrets though also pulls at the heartstrings of the amoral drifter. Who he kind of see’s as his salvation or someone for him to rescue. As she seems usually In over her head or taken advantage of. Though in this film there is no denying her talent or her beauty.

As here he makes no short cuts or quick cuts. It feels kind of old school. As when these types of stories are brought to the big screen. Commonly they either play slick like they are smarter than the audience or believe the audience knows all the cliches so they offer more a sense of humor or spin on them or they tighten the narrative and scenes so much that each one feels either rushed or full of tension even when there doesn’t need to be. 

This takes its time and still offers up its own little surprises as well as what is expected. 

Grade: C+