Honoring The 10th Anniversary Of HIGH FIDELITY

Although it didn’t come in at #1 at the box office over its opening weekend, HOT TUB TIME MACHINE is certainly John Cusack’s most notable movie in years. 10 years in fact. For March 31st, 2000 was the US release date of HIGH FIDELITY, a defining film of Cusack’s career, and one of my all-time favorite films. So to honor the film on its 10th birthday here’s a personal look back at the film beginning with the original book:

When I heard, sometime in the late 90’s, that they were going to make a movie version of Nick Hornby’s best selling novel “High Fidelity”, I was very skeptical. This was more than just the usual “the book is always better” argument, I felt like this book was my personal emotional property.

Well, the kind of personal emotional property that one shares in common with a huge group of people, but it’s just that I was, and still am to some extent, one of “those guys” that the book described in excruciating yet hilarious detail. You see, in this case “those guys” are the guys who are rock snob geeks who have lousy love-lives but have amazing record collections.

A friend, another one of “those guys”, recommended me the book shortly after its publication in 1995. At that time I worked in a CD store in a strip mall in Greensboro, North Carolina – I moved to that area earlier in the decade because I wanted to be with my girlfriend of over 6 years. In the days after our painful break-up I toiled behind the counters of this new and used compact disc retail store making lists of favorite songs, joining my co-workers in belittling clueless customers, and trying to get over the piles of baggage I was still carrying from that doomed relationship.

The experience of first reading “High Fidelity” was actually a bit disconcerting – I felt it hit too close to home. I joked to friends that it made me feel like I had been bugged, like somebody had been recording all my conversations about what songs to play at a funeral or what’s the best album opening song ever and mixing in exact statements made in fights between me and my ex and turning in them into clever prose. I grew to love it and laugh with it but I still wondered – who was this Nick Hornby fellow and how did he know so much about me?

So by the time the movie was announced, the book was a pretty hardcore emotional touchstone in my psyche. I knew that it was the same for tons of “those guys” out there who all felt this book was about them – oh, no a movie could ruin our sacred text, making it into another rom com that doesn’t take any of this record store culture seriously! But when I heard John Cusack was starring (and co-writing) and “The Grifters” (a Cusack favorite of mine) director Stephen Frears was attached, some of my cynicism evaporated.

The cynicism that remained was directed at the fact that the book took place in London and was written in what I felt at the time was a very British voice. The book was also named after an Elvis Costello song for Christ sakes! What I didn’t consider was that “those guys” were everywhere and the location didn’t matter. So as protagonist Rob Gordon (his last name was Fleming in the book but ostensibly that would’ve been too British) says: “It’s not what you’re like, it’s what you like”, I had to realize that it’s not where you are, it’s still just what you like.

While the setting of the story moved to Chicago, and it contains lots of great locales (The Double Door, Lincoln Park, The Biograph Theater), people everywhere live their lives through the filter of pop culture so it could have been reasonably set anywhere.

I do believe though, that if it were a British-made movie it would be Elvis Costello, not Bruce Springsteen, in that pivotal plot point cameo role.

I also should’ve considered that Cusack himself is one of “those guys”.

He took the text seriously and worked hard to keep its heart and content largely intact. Viewing it for the first time on the big screen 10 years ago I was delighted at how faithful it was to its source. Hornby agreed: “At times, it appears to be a film in which John Cusack reads my book” he told the New York Times at the time of the film’s release.

The film got so many things right – the pop culture riffing wasn’t forced, the soundtrack (The Kinks, Stereolab, Bob Dylan, The Beta Band, The Velvet Underground, etc.) was well chosen, and I don’t think any movie has better depicted how it feels to try to get through a day at your workplace when your heart is broken to pieces.

I’ve been in many independent record stores that highly resembled Rob’s shop Championship Vinyl with every surface covered in rock ‘n roll posters, promotional stickers, and concert flyers. Between that and Rob’s apartment, there is no end to trying to identify every cool rock signifier in sight – oh, there’s Sonic Youth’s “Goo”! There’s a poster for pre-label Pavement! There’s Brian Eno’s “Before and After Science” on vinyl and then later held up by Rob on CD! This was also pointed out in this blogpost.

In all the times I’ve watched the film over the years its arc never tires me – though the thought of enduring the same stuff in real life does. The boy loses girl, boy goes on a neurotic quest to understand why every relationship he’s had failed while wanting his ex to return arc is so amusing and empowering to watch here as a witty movie, but living through that is Hell. After a more recent break-up than the one I spoke of earlier I drunkenly considered calling my “top 5” exes like Rob does, but thankfully came to my senses with no misguided contact made.

Throughout the film Cusack addresses the camera directly, another move I wasn’t sure I’d be keen on, guiding us through his heartache. It’s an effective device because there is no other meta gimmickry or self referential winking going on – the words and his performance stand alone.

There are so many great lines, most of which directly from the Hornby novel, that still hit close to home, but after this long they sting in a good way:

“Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?”

“No woman in the history of the world is having better sex than the sex you are having with Ian…in my head.”

“Now, the making of a good compilation tape is a very subtle art. Many dos and don’ts. First of all you’re using someone else’s poetry to express how you feel. This is a delicate thing.”

That last quote, incidentally, I’ve gotten as a sound sniplet on many mix-tapes then later CDR comps – an obvious choice but a good one.

At this point I must note Jack Black absolutely steals the movie away from Cusack’s lovelorn lamenting with a full throttle performance that brought him to the attention of many. He owns the screen as the loud mouth rock fan with musical aspirations who shouts down anybody who disagrees with him. The way he aggravates Rob constantly saying such things as: “Rob, I’m telling you this for your own good, that’s the worst fuckin’ sweater I’ve ever seen, that’s a Cosby sweater!” is among the film’s best running jokes.

As much as I love this film I have some reservations.

In a scene set at the now defunct Chicago club, the Lounge Axe, Rob’s just as musically obsessive employees Dick and Barry (Todd Louiso and Jack Black) fantasize about wanting to date a musician. “I want to live with a musician. They’d write songs at home and ask me what I think of them; maybe include one of our private little jokes in the liner notes.”

Uh, no you wouldn’t. As obsessive as these guys are they would be jealously tortured by the nights when their dream musician would be at a late seemingly never ending recording session or out on the road sleeping in hotel or van with their fellow band mates. I’m just saying, because, yes, I dated a musician. Of course, I realize that their tunnel vision delusion may be a crucial point of social satire.

Rob’s ex girlfriend Laura is played by the still little known Iben Hjejle and while she has some chemistry with Cusack she seems a bit off. Likewise Lisa Bonet as the dream musician Rob beds on the side of his heartbroken agony. But, again, the fact that the women in Rob’s life are miscast may be precisely the point as well.

I would never call this film a “rom com” because the only thing our protagonist is truly romantic about is music. Even as it settles into a happy ending grove with Rob adding Stevie Wonder’s “I Believe (When I Fall In Love It Will Be Forever)” to a mix-tape for Laura, you get the sense that the just reconciled relationship is still doomed. The film essentially plays on an endless loop as real life on again, off again relationships often do.

So, 10 years later the question isn’t does HIGH FIDELITY still hold up, because of course it does. As Rob puts it: “It would be nice to think that since I was 14, times have changed. Relationships have become more sophisticated. Females less cruel. Skins thicker. Instincts more developed.” But he comes to the pretty much the same conclusion that one of his heroes Elvis Costello did: “History repeats the same defeats, the glib replies, the same defeats.”

So the real question that remains is what Rob posits at the beginning of the film: “What came first, the music or the misery?” I would say the music because when the misery came later we had a soundtrack to it already picked out and waiting.

Of course, I may just be saying all of this just because I’m one of “those guys.”

In the decade since HIGH FIDELITY, Cusack has gone through a run of mostly mediocre movies including RUNAWAY JURY, MARTIAN CHILD, GRACE IS GONE, and 2012. It’s amusing that in his first truly funny movie in 10 years, HOT TUB TIME MACHINE of course, has him at one point heartbroken and drunk, sitting on the floor writing break-up poetry. Rob Gordon lives on.

The film itself lives on in a couple of odd adaptations. It was turned into a Broadway musical in 2006 by writer David Lindsay-Abaire, lyricist Amanda Green, and composer Tom Kitt. The production closed after only 14 performances and received only lukewarm reviews, but some of the songs are kinda catchy. Can’t really comment on the show itself because I haven’t seen it but it strikes me that the material may not be translatable to the stage.

The material works better coming from an unexpected platform: the recently released hip hop disc “Don Cusack In High Fidelity” by Donhill, a member of the rap trio Tanya Morgan. The characters and narrative are recast into a satisfying song cycle. Such lively tracks such as “Championship Vinyl”, “Laura’ Song”, and “Love Junkie” instantly prove that this universally relatable material could really be set anywhere.

More later…

HOT TUB TIME MACHINE: The Film Babble Blog Review

HOT TUB TIME MACHINE
(Dir. Steve Pink, 2010)

A few years ago I wrote about the severe lack of quality John Cusack films over the last decade. Well, I never thought his cinematic redemption would come in the form of something titled HOT TUB TIME MACHINE – which is honestly the funniest comedy I’ve seen since BLACK DYNAMITE and ZOMBIELAND.

Sure, it’s a stupid concept – 4 guys go back in time to the 80’s via a hotel hot tub spiked by a Russian Red Bull beverage called Chernobyly – one that might look like it could be a sci-fi tinged WILD HOGS (which is name checked in the movie) men-will-be-boys comic nightmare of a movie, but it’s seriously a lot of fun.

John Cusack, Craig Robinson (The Office, PINEAPPLE EXPRESS), and Rob Corddry (The Daily Show) are old friends whose lives haven’t turned out the way they wanted. Cusack, in a role that has more than a little of Rob Gordon from HIGH FIDELITY in it, is a control freak insurance agent who has just been left by his live-in girlfriend, Robinson left his musical aspirations aside to work in a upscale pet store and fears his wife is cheating on him, and Corddry, a party boy gone to seed, just tried to commit suicide.

So along with Cusack’s video game obsessed nephew played by Clark Duke (the web series Clark and Michael) they travel to a ski resort they frequented back in the day to give their lives a kick-start, but much like them, the resort and the surrounding town has seen better days. In a great shout out to a much loved 80’s time travel classic (BACK TO THE FUTURE) Crispin Glover appears as a one armed bellhop with a very bad attitude.

Their crazy alcohol fueled first night results in them waking up back in 1986. “Is there some kind of retro thing going on this weekend?” Clark asks as they start to notice the 80’s aesthetics coming at them from every direction. Robinson: “Dude is rocking a cassette player.” He frantically points out more outdated oddities: “Leg warmers! Jheri curl!” Robinson also owns one of the best moments of the film when he and the others figure what happened; his look right at the camera after coming to the conclusion “must be some kind of hot tub time machine” is priceless.

Chevy Chase shows up as a mysterious hot tub repairman who says things that hint that he knows what’s going on then disappears. Clarke determines that they must do everything the exact same way they did it back in ’86 – in the mirror they look like they did as teenagers (played by other actors) – except for Duke himself who hasn’t been born yet. The fact that his future mother (Collette Wolf) is there immediately sparks the most predictable scenario in the film yet it still works.

In fact just about everybody’s arc is predictable but it all still works. What makes it work is the easy going improv nature of the dialogue which I believe will make it one of the most quotable comedies ever. It’s literally overflowing with laughs. There are times that everybody’s yelling something and it’s all funny so you miss stuff when laughing. Supreme re-watch-ability is written all over it.

It’s easily Cusack’s best movie in 10 years (exactly 10 years – HIGH FIDELITY was released in late March of 2000) and it works as a homage to his 80’s work – among other familiar references, somebody yells: “I want my two dollars!” a nod to his 1985 film BETTER OFF DEAD. That’s another large part of its charm – it’s a riff on a John Cusack 80’s movie that is actually better than some actual John Cusack 80’s movies (sorry, was never a fan of BETTER OFF DEAD and ONE CRAZY SUMMER).

Cusack’s co-stars, Robinson, Corddry, and Duke all have plenty of highly amusing moments and good natural chemistry together. Chevy Chase isn’t really given anything funny to do, but his cryptic creepiness fits in succinctly. There’s a great running gag involving just when and how Glover will lose his arm, and how much the can’t be contained party animal Corddry wants to see it happen, that stands out in all the over the top silliness.

It’s a gross out comedy, it’s a male bonding comedy, it’s an 80’s themed comedy with a kicking soundtrack (any soundtrack that can balance Mötley Crüe, The Talking Heads, Echo & The Bunnymen, Public Enemy, and The Replacements is fine by me), and it’s a rowdy sex comedy. It’s all of those things but what matters most is that it’s all a riot.

I know it looks and sounds stupid, and, yes, it is stupid. But this is a movie that is hilariously smart about its stupidity. And you should be too and go see it.

More later…

Random Babble On A Hot Sunny Summer Day

Hey folks – just a quick post to touch on some odds ‘n ends.

First off, I was a guest on Raleigh News And Observer critic Craig D. Lindsey’s podcast “Uncle Crizzle’s Critical Condition” this last week. Please visit his blog and download it – I believe it’s a good listen.

Secondly, I want to announce Soundtrack September. All during the month of September there will articles, lists, and all kinds of movie soundtrack related whatnot. I’ll be inviting writers from all over the blogosphere to contribute so please feel free to send in your thoughts on favorite scores and soundtrack recordings. Should be a blast.

Third, the trailer for a new comedy due in Febuary 2010 just premiered at Comic-Con 2009 (and hit the web) last week entitled HOT TUB TIME MACHINE.

This absurdly titled movie stars John Cusack, Craig Robinson, Clarke Duke, and Rob Corddry as 4 bachelor partying guys who just happen to discover that…well you know. Watch the actually funny trailer here for what I think is going to be next year’s SNAKES ON A PLANE; well title-wise you see.

That’s all for now. I’ve got a lot of fabulous Film Babble Blogging to come so please stay tuned.

More later…

PUBLIC ENEMIES: The Film Babble Blog Review

“John Dillinger was shot dead behind that theater (points at the Biograph Theater) in a hail of FBI gunfire. You know who tipped him off? His fuckin’ girlfriend! (shrugs) He just wanted to go to the movies.”
– Rob Gordon (John Cusack) from HIGH FIDELTY (Dir. Stephen Frears, 2000)

PUBLIC ENEMIES (Dir. Michael Mann, 2009)

At a recent revival showing of THE UNTOUCHABLES (part of a Robert De Niro double feature) the first shots showing the legs of Armani suited men storming up marble stairs made me think they accidentally started THE UNTOUCHABLES a few reels too soon. Of course, what I was actually seeing was the trailer for a new fangled ‘30’s gangster movie with Johnny Depp as Dillinger and Christian Bale as his FBI chief pursuer. On first glance it looked remarkably like Brian De Palma’s Capone era classic. Upon closer inspection, well, the looks linger but this tale is told from the bad guys point of view.

“I’m John Dillinger. I rob banks.” Depp smoothly parlays his M.O. to a new romantic prospect – a coat check girl played by Marion Cotillard (fresh from her Oscar winning turn as Edith Piaf in LA VIE EN ROSE). “Why did you tell me that?” She asks, intrigued, but she’ll soon learn that Depp’s Dillinger is forthright about everything. Despite being a bank robber on the run from the feds with his picture in the papers and 30 feet high in the newsreels, he comes off as a ‘man about town’, always on the make with the movie star glow that Depp couldn’t shake off if he tried. So why is he so hard to catch? The only argument the film seems to offer is that it’s because he is just as elusively slippery as a Warner Brothers cartoon character from the same period. When he is caught it is not for long as we are witness to more than one prison breakout sequence.

Over a decade ago, Mann made one of the definitive epic crime dramas – HEAT, but this sadly can’t hold a candle to that masterpiece. While HEAT bristled with tension, PUBLIC ENEMIES goes through the motions with gunfights lacking in electricity and multiple dialogue driven scenes that just sit there. Depp is confident and slick, Bale is determined and humorless; yet beyond that there’s not much to their personas.

Bale is one of the most engaging actors working today but since BATMAN BEGINS it seems like he’s being inserted right and left into potential blockbusters like some kind of celebrity product placement; he’s a cowboy, a Vietnam soldier, he’s Dylan, he’s the new John Connor, he was even almost President George W. Bush in W.! Bale’s character is solid, as is Depp’s, but there are no surprises present in their sparring standoffs.

Still, PUBLIC ENEMIES is a sturdy well made movie with a number of striking set-pieces, so this isn’t a complete pan. A major saving grace is its great supporting cast including Billy Crudup (almost unrecognizable as J. Edgar Hoover), Stephen Dorff, James Russo, Lili Taylor, and Channing Tatum as Baby Face Nelson. That there’s no fault from any member of the supporting players shouldn’t be lightly dismissed. Also there are a few definite sparks between Coittard and Depp which helps since it’s a fairly unfleshed out romance.

Like Capone’s fate in THE UNTOUCHABLES, and for that matter many other movies based on true crime, we know how this will end for Dillinger but at 2 hours and 20 minutes this takes its sweet time getting there. However, once you get to the climax it’s the most stirring part of the film. As Cusack noted in the quote at the top of this review, Dillinger was killed after taking in a movie at the historic Biograph Theater. Mann deftly illustrates, in the only section in which the glacial pace works, the odd peace Dillinger carried himself with. We see shots from the last film he saw – MANHATTAN MELODRAMA with images of Clark Gable, William Powell, and Myrna Loy pouring off the screen. In the shadows deals are being made and fates are being sealed, but as Depp and the audience, both on screen and off, are being bathed in the white light coming from the projector, art and life are sitting comfortably side by side taking a break from mocking one another. It won’t last long though…

More later…

The Film Babble Blog Top Ten Worst Movies Of 2008

2008 was definitely not as strong a year in film as 2007 as it had many more clunkers and mediocre movies that crammed theaters weekend after weekend. I mean this was a year in which respected icons Al Pacino and Robert De Niro (together again for the very first time!) appeared in a movie nobody cared about while Mike Myers and Adam Sandler competed over who could make the least appealing former SNL player vehicle ever (THE LOVE GURU and YOU DON’T MESS WITH THE ZOHAN respectively). I avoided those movies but I saw more than my share of absolutely awful films. Here’s the worst of the worst:

1. WANTED (Dir. Timur Bekmambetov) This ginormous train wreck of a movie actually featured a ginormous train wreck in a central sequence that was certainly its most memorable moment. That, for way obvious reasons, is fitting because the awful premise that attempts to flesh out a FIGHT CLUB-ish dis-satisfied working cog scenerio into a Swartzennegerian high octane comic book extravaganza just ends up a CGI suckfest. I felt sorry for James McAvoy and Angelina Jolie (who make one of the most unconvincing screen couple action duos ever) along with Morgan Freeman, Terrance Stamp, and even the damn fake train for having to take part in this high octane tripe. I literally got sick seeing this last Summer, that may have been the food at the Raleighwood Cinema Grill, but this sure didn’t help!

2. AN AMERICAN CAROL (Dir. David Zucker)

Michael Moore responded to a question from Time Magazine’s Richard Corliss about this movie that mocks him with “[Cyber-silence].” Not dignifying it with an answer was beautiful on Moore’s part because a film that treats Bill O’Reilly like he’s a hero and treats the audience like idiots ready to lap up faux patriotism presented as cheap shots at a popular liberal documentarian should be (and was) roundly ignored. Chris Farley’s brother Kevin was in the lead role as the ersatz Michael Moore – enough said?

3. CHAPTER 27 (Dir. J.P. Shaefer) Infamous John Lennon murderer Mark David Chapman is no deranged Travis Bickle poetically stalking the mean streets, and this is no TAXI DRIVER. Jared Leto gained weight but no cred for this disgusting nothing. Fun fact: Lindsay Lohan’s only screen appearance of 2008 was in this as a Beatle groupie named Jude. Oh, actually that’s not really much of a fun fact. Nothing about this is. Read my review of the detested DVD here.

4. EXPELLED: NO INTELLIGENCE ALLOWED (Dir. Nathan Frankowski)

The most aptly titled film on the list by far. Ben Stein used to be likable despite being a former Nixon speechwriter because he was like ironic, you know, as the game show host on Comedy Central’s Win Ben Stein’s Money and that classic cameo in FERRIS BUELLER’S DAY OFF (“Bueller? Bueller?”). Now he’s destroying that charming ironic image by trying to debunk the theory of evolution and equate those scientists who supposedely repress the study of Intelligent Design to Nazis. This poorly made, poorly written, and just plain poor non doc is even stupider than it sounds. I was too appalled to write a review when I watched the DVD a few months back but I highly recommend Roger Ebert’s blog-piece (not an official review mind you but still brilliant) “Win Ben Stein’s Mind” (Dec. 3rd, 2008).

5. THE HAPPENING (Dir. M. Night Shyamalan) The only thing that happened here was we were given the undeniable sign that Shyamalan should be stopped at all costs. Donnie Wahlberg, so good in THE DEPARTED, regressed into a placid persona that will be SNL impression fodder forever. It wasn’t his fault though, some actors are only as good as their material and he was given a formless piece of high concept crap in which to run around aimlessly in. Again, how can we stop Shyamalan such a Hitchcockian hack from offending again? Any ideas?

6. THE ONION MOVIE (Dirs. Tom Kuntz & Mike Maguire) In Britain this was renamed NEWS MOVIE which makes it appear to be in the series of putrid non satires including EPIC MOVIE, DISASTER MOVIE, MEET THE SPARTANS, etc. and though that’s not really accurate it’s still right as rain to add it to that bunch of bullshit. Read how I believe it killed off the tiny sub genre – the sketch comedy film – here.

7. QUANTUM OF SOLACE (Dir. Marc Forster)

Bad Bond – bad! Read how bad here.

8. WAR INC. (Dir. Joshua Seftel) A while back I wrote about how much I craved a new good John Cusack film (A Cry For Quality Cusack – Oct. 6th, 2007) and while he did make a close to decent film this last year (GRACE IS GONE) he took a huge step backwards with this quasi sequel to GROSS POINT BLANK which is just grossly unwatchable. Glib with not a plausible frame or laughable line, WAR INC. wastes not just Cusack but Dan Aykroyd, Marisa Tomei, Ben Kingsley, and even the voice of Montel Williams (that’s right) as well in this toothless political parody. Even John’s usually reliable sister Joan comes off as unbearably obnoxious. I never wrote a review of it but the Onion A.V. Club’s Nathan Rabin’s hilarious appraisal (“No Blood For Oil Stridently Political Case File #129: War, Inc.”) in which he labels it a “Fiasco” is well worth checking out.

9. THE X-FILES: I WANT TO BELIEVE (Dir. Chris Carter) Way to kill off a possible franchise, Mr. Carter! Make a movie that contains none of the original supernatural charm of the seminal series or the previous film and make it excruciatingly dull too, why doncha? Read more of my bitching here.

10. CASSANDRA’S DREAM (Dir. Woody Allen) Hey – The Woodman has a film on both my Best Of and Worst Of 2008 lists! The luscious VICKY CRISTINA BARCELONA luckily erased memories of Ewan Macgregor and Colin Farrell as brothers who scheme to…uh, like I said I don’t remember. I just remember being bored and wondering if Woody would ever make a good movie again. Thankfully he did. Read more about my darkness before the dawn (I know –sounds appealing doesn’t it?) here.

Okay! I skipped so many movies that probably would’ve made the list had I seen them – 88 MINUTES, SPEED RACER, FUNNY GAMES (I did see the original if that means anything since it was a frame by frame remake), BANGKOK DANGEROUS (more crappy Nicholas Cage!), THE DAY THE EARTH STOOD STILL, MAMA MIA!…the list goes on and on. Well, for now at least, it stops.

More later…

Clash Frontman Joe Strummer Gets The Julien Temple Treatment With Great Rock Doc Results

“I need some feeling of some sort – hey, we’re all alive at the same time, at once, you know!”

– Joe Strummer yelling at the US Festival crowd 5/28/83

I sadly missed this film on its extremely brief theatrical run in my area but happily just viewed the newly released DVD so here’s my review:

JOE STRUMMER: THE FUTURE IS UNWRITTEN (Dir. Julien Temple, 2007)

Tracing Joe Strummer’s life from a “mouthy little git” to “punk rock warlord” (Strummer’s words) Julien Temple’s lively and loving documentary is full of insights and powerful ideology that render it immediately essential.

As the frontman for the seminal British punk rock band The Clash, Strummer was rawly outspoken, always passionate, and brutally honest so he’s the best one to tell his story and by way of BBC radio recordings of him as guest DJ and audio from many interviews over the course of his career – he does.

These archival Strummer soundbites are helped along by a bountiful bevy of talking head comments from such stars including Johnny Depp, Steve Buscemi, Bono, and John Cusack as well as those with a more personal connection – former bandmates, girlfriends, and family members who I wish were better identified.

That’s one of the only beefs I have with this project – we know who Matt Dillon or Bono are when they appear at a campfire shot to offer their takes on Strummer but without a name and caption many folks like girlfriend Palmolive (from the lesser known but still vital bands The Slits and The Raincoats) fly by with their context not properly placed *. Also would be nice to have concert dates and events better titled. Small quibbles though, the rest is rockumentary gold or at least rock doc crack.

* Luckily the DVD has an over an hour and a half of bonus extended interviews which does identify each participant and is also essential. A couple of the highlights: Angela Janklow tells of a hilarious chance meeting of Strummer and Monica Lewinsky & Martin Scorsese relays how Clash music fueled his inspiration making RAGING BULL and later GANGS OF NEW YORK.

Born as John Mellor, the son of a British diplomat and a Scottish nurse, his family moved quite a bit during his childhood; living in Eygpt, Germany, and Mexico before John ended up at a boarding school in London. It was there that he was turned on to The Rolling Stones, learned to play the ukulele, and starting going by the name of “Woody” ostensibly because of an affection for Woody Guthrie. He went to art school with cartoonist aspirations (many of his drawings are sprightly animated and interspersed throughout) but music was his real calling and he was soon playing guitar in a band called the Vultures which didn’t last long. At the same time he toiled in such vacant career opportunities as carpet salesman and grave-digger. Because of his style of guitar playing he changed his name to Joe Strummer and angrily derided anybody who called him by another moniker.

As it certainly was suspected the center piece here is Strummer’s years with, as the hyped phrase goes, the “only band that matters”. Having disbanded another band – the popular pub rockers The 101ers, Strummer met guitarist Mick Jones and manager Bernie Rhoades. With bassist Paul Simonon, drummer Terry Chimes, and another guitarist Keith Levene they formed The Clash. They were immediately embraced by the blossoming British punk scene and signed to CBS within a year of their live debut (in 1976) with Chimes replaced by Topper Headon and Levene being axed. Great grainy footage abounds – most notably The Clash playing to a giant crowd of pogo-ing punksters at an Anti-Nazi League benefit. Their political themes, fueled by Strummer’s leftist views, were not lost on their fans as Bono from the mega-band u2 pretentiously but accurately explains: “I never knew who the Sandinistas were or where Nicaraqua was, the lyrics of Joe Strummer were like an atlas; they opened up the world to me and other people who came from blank suburbia.”

“I couldn’t believe we turned into the kind of people we were trying to destroy” Strummer laments as we see The Clash reap the rewards of success/excess. Contrasting professional arena concert footage from the early 80’s with the grimy black and white basement video of their early days of the same song illustrates beautifully his case: “we were part of the audience, part of the movement. Once it became thousands of miles removed from that I began to freak out.” Mick Jones final appearance was at the US Festival in 1983 (which again, is not properly identified) at which point Strummer, most likely way after the fact, describes the band as a “depleted force”. The Clash carried on however with some replacement blokes but the glory was gone so yep, here comes death. The death of the band that is, Strummer had many years of soundtrack work, acting roles (he appeared with Buscemi in my favorite Jim Jarmusch film MYSTERY TRAIN, solo recordings, and powerful performances with his band the Mescaleros. As a former global punk superstar he struggled a bit: “You meet a 17 year old guy and he’s never heard of The Clash; that’s the moment my feet touch the ground again.”

Strummer died of a congenital heart defect on December 22nd, 2002. Just weeks before he played with Mick Jones for the first time since 1983. It was an impromptu appearance with Jones getting on stage to join Strummer and the Mescaleros on the Clash classics “Bankrobber”, “White Riot”, and “London’s Burning”. The footage from that gig, albeit brief, adds enormously to the emotional last third of the documentary. Temple’s clever construction of the different strains of pop culture, even utilizing clips of ANIMAL FARM and the classic British flick IF…. to symbolize oppressive British society, is incredibly compelling from the before mentioned concert footage to even an appearance on South Park (1998). As both a enjoyable touching tribute for the long-time fan and a teaching-tool for the uninitiated, Julien Temple’s JOE STRUMMER: THE FUTURE IS UNWRITTEN is one of the best of its kind and a new addition to the definitive rocumentary checklist.

More later…

Starting Out In The Evening & Some Pre-Spring Cleaning

This, of course is the post prestige Oscars season – a downtime in which theaters are so cluttered with crap that the occasional worthwhile film can get easily overlooked. This is such a film:

STARTING OUT IN THE THE EVENING (Dir. Andrew Wagner, 2007)

Wagner’s directorial debut is impressive for its purposely minimal staging methods as well as its crafty casting. The masterful but shamefully underrated Frank Langella plays Leonard Schiller – a reclusive writer whose time is seemingly past. His acclaimed 4 novels are long out of print and he has struggled for over a decade to complete a new work and create one final lasting impression in the world of literature despite being told that the market is dominated by “celebrity confessions and self-help books”. His relationship with his daughter Ariel (Lili Taylor) doesn’t help matters as she is fiercely protective of him and intensely defensive about the loud ticking of her biological clock. Coming into the picture is the young glowing Heather Wolfe (Lauren Ambrose) who fashions herself as Schiller’s protégé and wants to help republish his work and re-establish his place in the pantheons of New York literary society. Trouble is she is a bit too interested in the touchy possibly painful autobiographical sources of his earlier work which cause the agitated author to cut short their first sit-down interview. Schiller does however offer: “I’ll concede this, I have occasionally drawn from my own life but I have I only done so in the spirit of objectivity.” As to whether anything develops between them I’ll plead my no Spoilers defense.

In the best sense of a ‘filmed play’ STARTING OUT… is a meticulous machine of a movie; every scene is exactly as long as it should be and every beat whether a solid point of action or a floating notion feels natural as can be in the construct. Langella, in what has to be called a “career best performance”, has an enhanced elegance to his every gesture even when on the verge of emotional collapse. Ambrose (pictured to the left) and Taylor, who appeared on Six Feet Under as remarkably different but just as strained characters, both deflect different shards of the dying light from their powerful patriarch, each hitting their stage marks with aplomb. As Taylor’s hesitant to be a Baby-Daddy boyfriend, Adrian Lester also has a well chosen charismatic demeanor and is refreshingly likable especially when considering that the stock disagreeing partner character usually is an asshole set up for audience disapproval. That’s one of many well nuanced thoughtful touches in this moving film. When Heather questions Leonard accusing him of abandoning his characters, the crux of the ginormous “does art imitate life or vice versa” question hits hard. As one noted New York poet once observed “between thought and expression, lies a lifetime.”

Now I thought I’d do some pre-Spring cleaning out of my notebook and Word files and post some reviews of recent flicks I’ve seen over the last few weeks – both new and old:

MARGOT AT THE WEDDING (Dir. Noah Baumbach, 2007)

Another film about exasperated literary minded folk uncertain of what their choices are, let alone if they are the right or wrong ones. Nicole Kidman, as the title character, is a recently separated successful writer who travels with her son Claude (Zane Pais) to her family’s old home in Long Island for her sister’s (Jennifer Jason Leigh) wedding. It is immediately obvious that she doesn’t approve of her sibling’s groom to be – Jack Black, shaggy as ever with a mustache that he claims he’s wearing ‘ironically’. As Black is an unemployed rock musician and aspiring artist we can see why. There are other concerns for Margot – the clichéd backwoods looking neighbors who menacingly demand that a tree on the property’s line be cut down, her nearby lover (Ciaran Hinds) who she may have really come to see with the wedding as a cover, and her ex-husband’s (John Turturro) constant phoning all drained her and me as I waded through.

It’s a movie in which every character exasperates every other character – Black even says: “I have the emotional version of whatever bad Feng Shui would be!” Every actor is capable and has engaging moments but the malaise that inhabits their lives fills the screen and I was left wondering why I should care for these people. When sister Pauline (Jennifer Jason Leigh) asks Margot: “What was it about Dad that had us fucking so many guys? ” I really wanted to leave the room rather than hear the answer. Like Leonard Schiller in STARTING OUT… (or more aptly Harry Block in DECONSTRUCTING HARRY) both Margot and her creator – director/writer Noah Baumbach have mined their lives for their art (Baumbach in real life much more successfully before in KICKING AND SCREAMING *, MR. JEALOUSY, and THE SQUID AND THE WHALE) but even with that illustrative insight this proceeding suffers from a severe lack of wit. And to truly ad insult to injury MARGOT AT THE WEDDING doesn’t even have a wedding in it! And I don’t care if that’s a Spoiler!

* Not to be confused with the Will Ferrell family sports comedy KICKING & SCREAMING – directed by Jesse Dylan (Bob Dylan’s son for Christ’s sake!).

MARTIAN CHILD (Dir. Menno Meyjes, 2007)

Remember K-PAX? That lame ass movie with Kevin Spacey claiming to be from another planet? Jeff Bridges spends the whole film trying to figure out if he’s crazy or actually telling the truth? No you don’t remember it? Lucky you. Well anyway this is the kids version. John Cusack plays a successful science fiction novelist and a widower who is going ahead with his and his deceased spouse’s plans to adopt. He is told by the adoption agency that they have a match, a reclusive six year old (Bobby Coleman) who thinks that he hails from the red planet. He wears what he calls a “hold me down” weight belt made out of batteries and duct tape because he feels the Earth’s gravity is weak and he could float away without it. Cusack, who was an oddball outsider himself as a child, takes to the kid but worries about the mental celestial angle. He is encouraged by his dead wife’s sister (Amanda Peet in an extremely undeveloped role) and his own sister (once again real life sibling Joan Cusack) who is justifiably cynical about the situation. Don’t worry I won’t tell if the kid really turns out to be a Martian or not.

I read on the internets that Cusack was not happy with how this picture turned out and I can see why. The editing creates an awkward mood with many stilted scenes. The DVD has 27 minutes of deleted scenes that expose dropped plot-points and reveal how much trouble the filmmakers had shaping this material. Still it’s hard to be completely hating on this movie it looks like there’s a good script with plenty of spunk in there somewhere with many good lines like Joan Cusack’s about her own kids – “I’ve got to take Omen I and Omen II to soccer practice!” The crisp chemistry of the supporting cast helps too – Oliver Platt as Cusack’s smarmy agent, the reliable stern Richard Schiff (Toby from The West Wing) as a case worker, the underused Howard Hesseman as a child psychologist, and Cusack’s THE GRIFTERS co-star Anjelica Huston as a literary publishing giant in a short but sweet part. As the kid in question, Coleman is cute and affective like in the scene where he reacts to a museum Mars landscape: “This is not how I remembered it.”

As I wrote before about Cusack, he gets a film geek free pass for his work in the seminal SAY ANYTHING and HIGH FIDELITY among others so he can do rom com crap for the rest of his life if he wants and I’ll look the other way but it’s just that a film like this could’ve been so much more. It is such a lightweight movie that it needs its own “hold me down” weight belt to keep it from floating away. With its lack of real emotional impact it’s just future Lifetime Channel afternoon fodder. You could do a lot worse than to rent MARTIAN CHILD but just like Cusack you could do a whole lot better.

SORCERER (Dir. William Friedkin, 1977)

When actor Roy Scheider died a month ago I posted a top 5 Essential Sharkless Roy Scheider Roles list. I got a few comments and a slew of email calling me on not having seen SORCERER. I put it in my NetFlix queue and just watched it so I’m happy to finally chime in on this underrated 70’s spectacle. Well, first I’ll say I hated that the only DVD version available is full screen and that it takes almost an hour to establish the premise that was as Peter Biskind’s “Easy Riders, Raging Bulls” book puts it “SORCERER revolves around the attempt of a small group of desperate men to drive a couple of trucks loaded with nitroglycerine across treacherous mountain terrain.” To get to that we have to see each of the group, along with Scheider – Bruno Cremer, Amidou, and Fransico Rabal’s violent and sometimes nonsensical background to gather somewhat why they are in exile in South America. Once we get going though it’s quite a ride – that is, if you can get past the cryptic trappings.

SORCERER is horribly titled; of course when you first hear it you think of wizards ‘n goblins ‘n such. Well, there’s nothing like that here – in fact it is so named because well, I’m not sure why it’s named SORCERER. I think I read it was because that name is on the side of a truck but I watched it with that in mind and didn’t see such. Tangerine Dream’s score as noted by Jim DeRogatis as his favorite progressive rock movie music on a recent Sound Opinions (the NPR rock radio talk show) episode about great soundtracks is definitely a synthesized symphonic wonder. Anyway as the tale goes this film opened a week after STAR WARS at the famous Chinese Theater in Los Angeles in 1977 then was again replaced by STAR WARS the week afterwards with Friedkin lamenting “I dunno, little sweet robots and stuff, maybe we’re on the wrong horse.” Maybe it was the wrong horse but Friedkin’s crazy literally off the rails (the truck on the wildly frailing wood bridge in the storm sequence is monumental in the annals of Hollywood ‘how the Hell did they do they do that?'”) movie is not one to be forgotten. I hope it gets a deluxe treatment on DVD or Blue Ray or whatever. At least let’s get a wide screen version out there. Just sayin’.

More later…

The Film Babble Blog Top 10 Worst Movies Of 2007

Oscar season is now officially over and we’ve basked in the glory of a great year for film for long enough so now it’s time to look at the not so great movies of 2007. Actually “not so great” is being too kind – these were wretched evil slabs of celluloid sent from Hell to taint our collective unconscious and will make us all pay a higher psychic price than we can possibly imagine (as the late great comedian Bill Hicks would say). So let’s warm our hands on the fire as we throw these movies back to from where they came one by one:

1. WILD HOGS (Dir. Walt Becker)

Hard to believe this was one of the biggest box office hits of the year. It’s a CITY SLICKERS-ish mid-life crisis tale with motorcycles instead of horses padded out with bathroom humour, gay-panic jokes, and tired stupid sitcom plotting. We’re used to seeing Tim Allen, Martin Lawrence, and even John Travolta slumming it in such unfunny cinematic crap but why did William H. Macy and Marissa Tomei have to be dragged down with them? Read my original review here.

2. REDACTED (Dir. Brian DePalma)

This has been a really bad year for films about the Iraq war with audiences staying away from both documentaries like NO END IN SIGHT and dramas like LIONS FOR LAMBS. Of course it doesn’t help the cause when the movie is actually really bad like DePalma’s misguided horribly named unaffecting mess REDACTED. Through the conceit that the fictional (though based on a real incident) tale of a troop in Samarra who are involved with the rape and murder of an innocent 14 year old Iraqi girl and the killing of her family is told by one of the soldier’s hand held videocams, fake cable TV footage, and simulated YouTube clips we just get the same old bottom line: War Is Hell. Worse yet this obnoxious exercise comes across like it’s more down on the troops than the war.

3. Tie: GHOST RIDER (Dir. Mark Steven Johnson) / NEXT (Dir. Lee Tamhori) A Nicholas Cage double whammy! Actually if I had seen the sequel to the awful NATIONAL TREASURE that came out last December this may have been a triple whammy. In NEXT a clever Philip K. Dick short story is awfully adapted into a boring by-the-numbers action movie formula while GHOST RIDER takes its comic book source and well…also awfully adapts it into an equally lame action movie. Come on Cage! We all know you have another ADAPTATION or WILD AT HEART in you, so why do you have to keep giving us this pap? Read my original review of GHOST RIDER here.

4. THE NUMBER 23 (Dir. Joel Schumacher) This is the stupidest film in Jim Carrey’s entire career and with a filmography that includes the ACE VENTURA movies and especially DUMB AND DUMBER that is really saying something. As a wise-cracking dogcatcher who starts seeing the number of the title everywhere and they start piling up as clues to a long unresolved murder. Wait! It gets stupider – read my original review here.

5. FACTORY GIRL (Dir. George Hickenlooper) A vicious disapointment in the department of biopics of C-List celebrities. Sure, model and 60’s “It girl” Edie Sedgewick (played by Sienna Miller) was a wasted vapid Warhol groupie but she deserved better than this putrid portrait. My review is of course, right here.

6. 1408 (Mikael Håfström) John Cusack in a hotel room from Hell. That’s pretty much it. Want more of a description of the Stephen King derived suckitude contained within? Click on this.

7. SHOOT ‘EM UP (Dir. Michael Davis) At one point Clive Owen says: “You know what I hate? I hate those lame action movies where the good guy calls just one person who ends up betraying him.” Me? I hate lame action movies like this. Even one in which ace actor Paul Giamatti (talk about slumming it!) plays the bad guy. After CHILDREN OF MEN Owen must have hesitated to do another ‘save an important baby from evil forces’ movie but maybe he just decided that the price was right. I never reviewed this bombastic blockbuster wannabe for good reason.

8. YEAR OF THE DOG (Dir. Mike White) I like former SNL cast member turned film lead actress Molly Shannon. I like the supporting cast including Regina King, Peter Scaarsgard, John C. Reilly, and Laura Dern. I like screenwriter/director Mike White. Also I like dogs. But I really didn’t like this awkward indie comedy and by the end of it wanted to put it to sleep. Read about how it rubbed me the wrong way here.

9. BUG (Dir. William Friedkin) A ridiculous conspiracy minded thriller with hammy overacting and silly twists. Normally I love ridiculous conspiracy minded thrillers with hammy overacting and silly twists but Friedkin really doesn’t bring it here. Read my review of the DVD here.

10. THE TEN (Dir. David Wain) A sketch comedy film without a single laugh. Paul Rudd, whose smug detachment helps him walk off unscathed from this dreck, is the presenter of 10 vignettes ostensibly based on the morals of the 10 commandments featuring the usually reliable members of comic ensembles from the TV cult favorites The State and Stella who have all done good funny work before. WET HOT AMERICAN SUMMER this ain’t. My original review? Never wrote one – in fact this is the most I ever want to write about this mean minded offensive unfunny doggerel. Next time I won’t mince words.

More later…

1408 And A Cry For Quality Cusack

“But you wouldn’t be sleeping with a person. You’d be sleeping with a whole sad single-person culture. It would be like sleeping with Talia Shire in ROCKY if you weren’t Rocky.” *
– Rob Gordon (John Cusack) HIGH FIDELITY (Dir. Stephen Frears, 2000)

* A friend emailed me this quote not long ago and asked “what does this mean?” I honestly have to say I don’t know.

I avoided 1408 upon its original run in theaters earlier this year because I suspected that the explanation (or lack of) for the supernatural premise would really piss me off. However I ordered the new release DVD on up from Netflix because my curiosity got the best of me but also because I like John Cusack (see below) and knew he’d at least deliver. So here’s my review:

1408 (Dir. Mikael Håfström, 2007)

The premise (based on a short story by Stephen King) is simple – John Cusack gets trapped in a hotel room from Hell. He’s tortured by apparitions of the many who were killed or killed themselves there and by images of his own deceased daughter (no, she didn’t die in the room).

The angle is that he’s an extremely skeptical writer of anti-ghost books – guides to hotels that are believed to be haunted that he stays in to debunk. So naturally when he hears (by way of a cryptic postcard) about a hotel room in the Dolphin Hotel in New York City that nobody has lasted more than an hour in and that has been closed off to the public, he gets his publisher to cut through some legal red tape and book the room.

He first has to listen to a series of lectures from hotel manager Samuel L. Jackson (whose role is essentially an extended cameo) about the history of grisly deaths interspersed with repeated attempts to talk Cusack out of staying in the room. “It’s an evil fucking room” Jackson concludes in the grimmest most intense manner he can muster as Cusack cynically and drolly rolls his eyes. This is where the plot description ends and I just bitch about the movie in full.

As for lasting an hour – the first hour of 1408 is pretty good – sharp and genuinely creepy. The second half however is really ludicrous – literally throwing every horror movie cliché at Cusack as he is almost burned, frozen, stabbed by ghosts, drowned, chased by a corpse in a heating duct, and he almost falls to his death hanging from the ledge when he tries to escape to the next room’s window which of course disappears.

These are technologically savvy ghosts – they outdo the AMITYVILLE HORROR‘s screwing with the bedside alarm clock ploy, though they do that too. Yes Siree – these ghosts can manipulate Cusack’s lap-top’s video messenger screen and broadcast their own satellite cable transmissions on the room’s television. They sometimes even tap into surveillance camera and old family camcorder feeds somehow to better scare Cusack. They can also appear in black and white complete with old film scratches or in technicolor depending on when they died craftily enough.

But of course it’s not the ghosts but the room itself as the title implies and Jackson said – it’s evil and can take control of everything including time, space, bed, bathroom and beyond. How could that be? You can’t have a Indian burial ground beneath a rented space in the sky so what gives? Then we have to filter in the estranged wife (Mary McCormack) and dead daughter (Jasmine Jessica Anthony) – who the room and the film use as heartstring pulling psyche-out set-up punches.

It’s the kind of movie that boils down to “we’ve traced the call – it’s coming from inside of your brain!” That said, this is an amusing time waster that has a better than the material performance by Cusack who carries pretty much the whole show. Like those movies depicting plane crashes that are banned by airlines, I think this would be a good one to censor from hotel-chain pay-per-view. I doubt I could sleep in a hotel room after watching it – just sayin’.

Postnote : Not that it affects my review but I only saw the unrated version of 1408 which is disc 2 of the Special Ed. DVD. I wasn’t aware that there was an alternate ending that is completely different to the theatrical release’s. I thought that the unrated version would be everything, you know? As readers of film babble must know I hate when there are alternate endings – cop-outs based on test screening panic for the most part.

A Cry For Quality Cusack

So how long since the last really good John Cusack movie? Uh, let’s go back through the bad ones – MUST LOVE DOGS, which was a real dog, was 2005, before it there was RUNAWAY JURY which was beneath the bottom of the bail and IDENTITY (another failed supernatural thriller like 1408) were both 2003, and SERENDIPITY and AMERICAN SWEETHEARTS which both seriously sucked so the last really good John Cusack movie was HIGH FIDELITY (2000). Wow, 7 years!

HIGH FIDELITY is one of my favorite movies (as the Nick Hornby novel it was based on is one of my favorite books) so because of Cusack’s top notch work as heartbroken music snob/geek Rob Gordon (named Rob Fleming in the book) in that film as I read somebody say on The Onion The A.V. Club he gets a free pass. However it looks like the pass is going to expire soon unless he takes some action. It looks like there’s possibilities ahead for the upcoming films MARTIAN CHILD (by Menno Meyjes who directed Cusack in MAX – which was decent but unmemorable) and the drama GRACE IS GONE (pictured below) so with hope the 7 year itch will be scratched.

Now I don’t want to write one of those “open letter to…” or any smarmy “here’s some career tips Mr. Big Star”, I mean how moronic would that be for me – a lowly blogger to even slightly think I know what really goes on with choosing scripts and signing on to projects but damnit I wish Cusack would do 2 things:

1. Work with Stephen Frears again – 2 of Cusack’s best films (THE GRIFTERS and HIGH FIDELITY) were with Frears directing and it seems like a good time for them to hook up again. Also Cusack was great in Woody Allen’s SHADOWS AND FOG and BULLETS OVER BROADWAY so another collaboration with him would be great too. How about this being a plea for Cusack to work with better directors in general? The last seven years smell of behind the camera hackery.

2. Host Saturday Night Live – That’s right, Cusack has never hosted SNL despite the fact that his sister Joan Cusack used to be a cast member. In his friend Tim Robbin’s excellent mock poli-doc BOB ROBERTS Cusack played an actor doing a SNL-type show called “Cutting Edge”. Just credited as “Cutting Edge Host” Cusack had a great anti-corporation/anti-right wing folk-singing senate candidate Bob Roberts (Robbins) rant. It would be a great actor exercise for him to do a string of different characters all live on SNL and I bet it would refresh his comedic facilities.

But like I said who am I to say such things – nobody that’s who! As long as Cusack still makes movies with his sister – the very funny above-mentioned Joan Cusack (they’ve been in 5 movies together and 2 more coming up) and Jeremy Piven (6 films) I’ll stop complaining. In fact I bet Joan would made 1408 quite a bit better if she would’ve appeared as the voice of the hotel phone operator and Piven as the bell hop – man, that would’ve added a more chilling effect to the proceedings.

So in conclusion – I have to do right by HIGH FIDELITY‘s Rob Gordon and his obsession with top-5 lists and name:

The Film Babble Blog Top Five John Cusack Movies

1. HIGH FIDELITY (2000) – No surprise there.

2. SAY ANYTHING (1989) – Excellent Cameron Crowe high school relationship movie. Best known for the boom box blaring Peter Gabriel held to the skies by Cusack’s immortal Lloyd Dobbler character – no, I’m not going to post that picture. I’ll go with the one with the Clash t-shirt on the left.

3. THE GRIFTERS (1990) – A con man (Cusack) and a few con women (Annette Benning, Angelica Houston) and a dark uncompromising comic tone that never lets up make this essential on my blog.

4. BULLETS OVER BROADWAY (1994) – One of Woody Allen’s best screenplays with Cusack spot-on as a troubled neurotic playwright in 1920’s New York who has to deal with mafiaso control of his project. A pleasure from start to finish.

5. THE SURE THING (1985) – Very underrated Rob Reiner helmed comedy originally billed as a college-kids-on-the-road-sex-farce but it has better intentions and results. It makes the Top 5 because it was the first full-length that cemented the Cusack persona – he’s one of the only guys who can get away with a line like: “How would you like to have a sexual experience so intense it could conceivably change your political views?” Great Tim Robbins cameo to boot.

Came close but didn’t make the cut : BEING JOHN MALKOVICH (Dir. Spike Jonez, 1999)

That’s all for now – next time I’ll try not to come anywhere near giving celebrities career advice. I’ll leave you with this nice montage of Cusack in the rain which sort of says it all.

More later…