Blu Ray Review: NOT THE MESSIAH (HE’S A VERY NAUGHTY BOY)

NOT THE MESSIAH (HE’S A VERY NAUGHTY BOY) (Dir. Aubrey Powell, 2010)

Way before I was a hardcore movie fanatic I was a hardcore Monty Python fanatic – I’m talking when I was a kid in the early ’80s here. I went to late shows of their movies, I had all their records and books, I saved up money to buy a VCR solely to record episodes of Monty Python’s Flying Circus – I had it bad. I still love ’em and go to see revival screenings of MONTY PYTHON AND THE HOLY GRAIL and LIFE OF BRIAN whenever they’re in my area despite owning the DVDs, so, of course, whenever there’s new product such as last year’s excellent documentary mini-series “Monty Python: Almost The Truth – The Lawyer’s Cut” I’m all over it.

However there is a huge threat to all my nostalgic affection: Eric Idle. The former Python has spent the last decade, in the words of another former Python Terry Jones, “regurgitating Python.” Idle has toured playing the songs in a show entitled “Eric Idle Exploits Monty Python”, mounted a wildly successful Broadway production based on HOLY GRAIL – “Spamalot”, and now has turned to LIFE OF BRIAN for the new musical oratorio NOT THE MESSIAH (HE’S A VERY NAUGHTY BOY). Because I’m a long time fan I just had to see it the second it dropped on Blu ray.

With the help of long-time collaborator/conductor John Du Prez, the BBC Symphony Orchestra, and a bunch of trained operatic singers, Idle reduces the savage satire of the classic film into only slightly racy almost family friendly fodder. Appropriating Handel’s “Messiah” in misguided attempts to flesh out character threads that were best left as comic asides, we get songs about the Roman Centurion that raped Brian’s mother and Idle’s beloved bit about an anachronistic wish for a sex change, is now recast as a lame unfunny ballad.

NOT THE MESSIAH basically is “Spamalot 2” though there are a few differences. It’s not an in costume performance – though a few performers are outfitted like their characters – it’s a filmed live performance for a radio broadcast. There’s also that giant orchestra and chorus involved too. But infinitely more important, because it was the 40th anniversary of the group (October of last year) Python members Michael Palin, Terry Gilliam, and Terry Jones were on hand to reprise their roles or just appear for the sake of good will (like Gilliam appears to). The only other surviving Python, John Cleese, was not present presumably because he was off rolling his eyes somewhere.

It doesn’t improve matters that the singers (William Ferguson and Shannon Mercer) recruited to play the pivotal parts of Brian and Judith, , wonderfully previously portrayed by the late great Python leading man Graham Chapman and Sue Jones-Davies (now Mayor of Aberystwyth, Wales), look and sound more like they should be in a Prince Charles and Lady Diana musical. I was also surprised that Brian’s mother Mandy is played by a woman! One of the most hilarious factors of LIFE OF BRIAN was Terry Jones amped-up Pepperpot performance as the protagonist’s disapproving ball-busting Mama. Here renowned soprano Rosalind Plowright takes the part, and more than a little of the narrative’s point-of-view, and though she’s a fine vocalist it’s a slap in the face of the brilliant bite of BRIAN. Especially since Jones was there and could have done it. Missed opportunity city.

The music is immaculate in its presentation, but the new songs are repetitive, obvious, and supremely forgettable. The only highlights are the Python cameos – it’s funny to see Palin in full Margaret Thatcher-ish drag introduce the show. Palin by contrast is definitely the only Python who has maintained his figure. It’s also nice to see Palin in his old Pontius Pilate garb proving he can still pull off the lisp. Jones and Gilliam are just there for glorified cameos neither of which really registers and Idle’s hammy line readings seriously grated on me, though the packed Royal Albert Hall audience ate it all up, cheering at every familiar phrase.

The crowd did appear to love it, and maybe I would’ve too had I been there, but watching it at home, even on a spiffy new Blu ray, was a sad trying experience. Looks like Idle will be singing “Always Look On The Bright Side Of Life” (which was also in “Spamalot”) and “The Lumberjack Song” (here acting as the encore) for the rest of his life. I once considered Idle the greediest Python, now I think of him as the Python who can’t move on. In a few years from now when he unveils his inevitable THE MEANING OF LIFE musical I hope that I’ve moved on enough to skip it. I’d like to think by then that I would have had enough of these warmed over retreads, but then I am a glutton for punishment…

More later…

Ledger’s Last Film: Good But Not Great Gilliam

THE IMAGINARIUM OF DOCTOR PARNASSUS
(Dir. Terry Gilliam, 2009)

Terry Gilliam is infamous for problems plaguing (and sometimes halting) many of the productions of his fantastically far-fetched films, but as I’m sure folks reading this well know, none have been hit harder than this one. The untimely death of Heath Ledger midway through shooting threatened to squash the project, but Gilliam came up with a solution to cast 3 of Ledger’s acting peers to fill in for his remaining scenes.

It helps the conceit that in the story Ledger’s character steps through a magic mirror into another world in which he could be somewhat plausibly changed into another person. It also helps that the 3 actors filling in just happen to be very big names in the business: Johnny Depp, Jude Law, and Colin Farrell.

Given these circumstances, the finished film works better than it has a right to. Working with a much lower budget than before, Gilliam knows how to draw an audience in to a strange setting, one that’s familiar to fans with its ratty stage folk and tall tales that just might be true. In the title role, Christopher Plummer, made to look ten times scragglier than usual, leads a group of show folks making their way around modern day London in a make-shift stage vehicle. The group is made up of the Doctor’s daughter (Lily Cole), a clever but neurotic magician (Andrew Garfield), and an out-spoken dwarf (Verne Troyer) who has many of the films best lines.

Plummer tells his daughter (and us) his bizarre back story (well, bizarre if you’ve never seen a Gilliam film before) involving a deal with the Devil (a terrific Tom Waits) and the darkening of his visions. When crossing a bridge in the middle of the night the traveling troupe comes across Ledger hanging from a noose. They get him down and find he’s still alive. When he comes to the next day he asks where he is. Troyer answers:

“Geographically, in the Northern Hemisphere. Socially, on the margins. Narratively, with some way to go.”

Ledger has no memory of his life before his suicide attempt so he joins the Imaginarium players, soon making changes to their set and presentation. A crumbled newspaper page blowing around the rubble of the seedy dank underworld they call home reminds Ledger of his shady background, but he continues to go along with the troupe especially after learning that the Doctor’s Imaginarium is no scam.

The film beautifully builds up to when Ledger first goes through the mirror and the transition to Johnny Depp is successfully smooth. Depp has the briefest bit of the guest replacement actors, but makes the most of it with his patented eyebrow exercises and dance moves. Jude Law and Colin Farrell are well suited for the smarmy greedy parts of Ledger’s personality that emerge in further mirror excursions if indeed that’s what they were supposed to symbolize.

Such errant elements in the second half don’t gel well and key plot points are muddled or clumsily glossed over, but that Gilliam was able to complete this film to as coherent as it is makes up for a great deal of defects.

THE ADVENTURES OF BARON MUNCHAUSEN is the closest relative IMAGINARIUM has in Gilliam’s canon. Both deal with wizened old men spinning legends out of their outrageous realities; performing their fables on the sideshow circuit, laying in wait for fortune or death – or both. IMAGINARIUM has a much lower budget that MUNCHAUSEN, yet it benefits from less aesthetic indulgence and its smaller scale gives it more intimacy.

It’s far from Gilliam’s best movie, and it’s far from Ledger’s best performance, but as a salvaged final project, I’m glad THE IMAGINARIUM exists. It’s a mixed bag of a movie (and may still have been had Ledger lived), but it’s a still a fairly fun film and a fitting tribute. At the end we are told that this is “A film from Heath Ledger and friends.” I know it’s lame to say that ‘it’s the thought that counts’, but dammit – it counts the most here.

More later…

The Terry Gilliam Repertory Role Call 1977-2009

In anticipation of the new Terry Gilliam film THE IMAGINARIUM OF DOCTOR PARNASSUS opening wide this Friday here’s a listing of Gilliam’s stupendous stock company. This is excluding the Monty Python films, because Gilliam only co-directed one of them (MONTY PYTHON AND THE HOLY GRAIL). So let’s get right to it:

Jeff Bridges (THE FISHER KING, TIDELAND) 7 years before “The Dude”, Bridges abided as pony-tailed radio shock jock Jack Lucas who finds redemption by way of a crazy homeless Robin Williams (see end of list). Bridges’ fate was less rosy in TIDELAND (2005) – he plays a crusty old rocker reminiscent of Kris Kristopherson (a foreshadowing of CRAZY HEART?) who dies of a heroin overdose and spends most of the film as a rotting corpse sitting upright in a chair in a rustic farmhouse. Also notable: Bridges narrated the excellent heartbreaking documentary LOST IN LA MANCHA that focused on Gilliam’s aborted 2000 production of THE MAN WHO KILLED DON QUIXOTE.

Jim Broadbent (TIME BANDITS [1981], BRAZIL [1985]) The small but juicy role of a sleazy Compere of the game show “Your Money Or Your Life” was one of Broadbent’s first film roles. He appeared again in Gilliam’s next film, the bizarre but brilliant BRAZIL, as Dr. Jaffe – a plastic surgeon for one of the other notable cast members on this list (Hint: skip ahead 2).

Winston Dennis (TIME BANDITS, BRAZIL, THE ADVENTURES OF BARON MUNCHAUSEN 1988) A couple of bit parts as “Bull-headed Warrior” who battled King Agamemnon (Sean Connery) in TIME BANDITS and “Samurai Warrior” in BRAZIL led to an actual character name for Dennis, actually 2, Bill/Albrecht, an intertwined duo in Gilliam’s overblown but still incredibly charming epic comedy: THE ADVENTURES OF BARON MUNCHAUSEN (1988).

Johnny Depp (FEAR AND LOATHING IN LAS VEGAS, THE IMAGINARIUM OF DOCTOR PARNASSUS, ) A Hunter S. Thompson adaptation is not a characteristic project for the dogged director, but with the demented Depp as the Gonzo journalist, Gilliam found his fantasist footing in the trippy terrain. Depp lent a hand famously filling in for Heath Ledger as “Imaginarium Tony #1” in the upcoming IMAGINARIUM… and is slated to be Sancho Panza (a role he was unable to complete in 2000) in THE MAN WHO KILLED DON QUIXOTE (2011). Barring any unforeseen incident, mind you.

Katherine Helmond (TIME BANDITS, BRAZIL, FEAR AND LOATHING IN LAS VEGAS)

While she’s best known for her US television sitcom work on Soap, Who’s The Boss, and Everybody Loves Raymond, Helmond has an almost alternate reality film career in the alternate realities of Gilliam. In TIME BANDITS she’s fittingly named Mrs. Ogre as she’s the wife of “Winston the Ogre” (Peter Vaughan), in BRAZIL she’s Ida Lowry – the mother of protagonist Sam Lowry (Jonathan Pryce), and in FEAR AND LOATHING… she’s “Desk Clerk at Mint Hotel” – a study in uncomfortable disapproving scowling. You’d think she’d be used to Gilliam’s grotesqueries by that point.

Ian Holm (TIME BANDITS, BRAZIL) To go from the legendary Napoleon to the lowly office boss Mr. M. Kurtzman in just a few years is quite a demotion. And perhaps it’s adding insult to injury that neither role has any positive light shed on them but Holm puts in perfect performances that actually provoke sympathy. Incidentally Holm would go on to portray Napoleon again in THE EMPEROR’S NEW CLOTHES (2001).

Michael Jeter (THE FISHER KING, FEAR AND LOATHING IN LAS VEGAS)

Jeter died in 2003 leaving behind an eclectic career that stretched from musical theater to television comedy to the silver screen and back again. His parts in 2 of Gilliam’s finest films as “Homeless cabaret singer” and “L. Ron Bumquist” are as memorable as character acting can be – especially when he belts out a medley of show tunes in drag to Amanda Plummer in THE FISHER KING.

Simon Jones (BRAZIL, TWELVE MONKEYS) These are pretty blink and miss them cameos (as an “Arrest Official” and “Zoologist” respectively) from Python pal Jones best known as Arthur Dent on the BBC TV version of The Hitch Hiker’s Guide To The Galaxy (1981).

Heath Ledger (THE BROTHERS GRIMM, THE IMAGINARIUM OF DOCTOR PARNASSUS) Of course, the tragic death of Heath Ledger in 2008 deprived the world of an amazing young talent, but a blossoming Gilliam leading man is how he’ll remain frozen in time as “Tony” in his last film: THE IMAGINARIUM… Ledger was reported as being close to Gilliam beginning with their work on BROTHERS GRIMM, so it’s not so far-fetched to imagine them collaborating often had he lived.

Charles McKeown (TIME BANDITS, BRAZIL, THE ADVENTURES OF BARON MUNCHAUSEN, THE IMAGINARIUM OF DOCTOR PARNASSUS)

McKeown has been on hand to fill in random bit player parts in these 4 films simply because he co-wrote them with Gilliam. His work as “Theater manager”, Harvey Lime, Rupert/Adolphus, and “Fairground Inspector” may go majorly un-noticed but such a solid player should at least get a shout out from this blogger.

Christopher Meloni (TWELVE MONKEYS, FEAR AND LOATHING IN LAS VEGAS) Before he was Detective Elliot Stabler on Law & Order: Special Victims Unit, or criminal Chris Keller on Oz for that matter, Meloni played Lt. Halperin in TWELVE MONKEYS then “Sven, Clerk at Flamingo Hotel” in FEAR AND LOATHING…


Derrick O’Connor (JABBERWOCKY, TIME BANDITS, BRAZIL) According to Wikipedia: “Terry Gilliam, who has directed O’Connor on three films, has noted in his audio commentaries that Derrick seems to have a habit of taking away most of his dialogue in favor of physical character humor. Notable examples include TIME BANDITS, in which his characters’ dialogue was resorted to simple grunts while the Maid Marian character ‘translated’ for him and in BRAZIL , in which Derrick scrapped all of his character’s dialogue and simply repeated the dialogue of Bob Hoskins‘ character.”

Michael Palin (JABBERWOCKY, TIME BANDITS, BRAZIL)

Gilliam’s former Python mate Palin was his first leading man as Dennis Cooper – dragon slayer in JABBERWOCKY (1977). Palin went on to co-write TIME BANDITS and appear in it as Vincent, who shows up in as Shelly Duvall’s lover in 2 different time periods. His last role for Gilliam was as the devious but dapper Jack Lint in BRAZIL.

Christopher Plummer (TWELVE MONKEYS, THE IMAGINARIUM OF DOCTOR PARNASSUS)

In TWELVE MONKEYS, the venerable Plummer played Dr. Goines, a world-renowned virologist and father to a crazy radical Brad Pitt. He has a larger role, the title role, in Gilliam’s latest offering. In an interview on ClashMusic.com Gilliam spoke of the collaboration: “It’s wonderful trying to create a little family group. At one stage I’m taking Christopher Plummer, one of the greatest actors of a few generations, and having him do these different double acts; one with a model with little acting experience, one with a two-foot-eight man and one with Tom Waits, America’s greatest musical poet. And it all worked out!”

Jonathan Pryce (BRAZIL, THE ADVENTURES OF BARON MUNCHAUSEN, THE BROTHERS GRIMM) As protagonist Sam Lowry in BRAZIL, Pryce provided an ingratiating everyman. He had smaller but still memorable parts in MUNCHAUSEN as “The Right Ordinary Horatio Jackson”, and BROTHERS GRIMM as “Delatombe” – a conniving French General.

Jack Purvis (TIME BANDITS, BRAZIL) A dwarf who appeared in all 3 of the original STAR WARS trilogy, Purvis was Time Bandit Wally, Dr. Chapman in BRAZIL, and Jeremy /Gustavus in MUNCHAUSEN. Unlike his roles as Jawas and Ewoks for Lucas, in Gilliam’s films he at least got to show his face and have a few lines. Purvis died in 1997, leaving behind a brief but fascinating filmography.

Peter Stormare (THE BROTHERS GRIMM, THE IMAGINARIUM OF DOCTOR PARNASSUS) The only actor to appear on both Gilliam’s and the Coen Brothers’ repertory role calls, Stormare is a towering intimidating stonewalling actor who seems to fit into whatever skewed scenario visionary film makers come up with. His roles in these 2 films couldn’t be more different: he’s the thug “Calvadi” and in BROTHERS GRIMM he’s credited as “The President”. Well, maybe I have to wait to see if they’re really so different.

Verne Troyer (FEAR AND LOATHING IN LAS VEGAS, THE IMAGINARIUM OF DOCTOR PARNASSUS) Troyer, best known as Mini-Me from the AUSTIN POWERS films, seems to be the go-to little person since the original Time Bandits are too old or deceased now. Maybe Gilliam should give Peter Dinklage a call next time out.

Peter Vaughn (TIME BANDITS, BRAZIL) As a medieval creature who complains of a bad back, the Pythonesque “Winston the Ogre” was wonderfully played by Vaughan: “You try being beastly and terrifying… you can only get one hour sleep a night because your back hurts, and you daren’t cough unless you want to pull a muscle.” In BRAZIL he had a crucial bit part as the ironically named Mr. Helpmann.

Tom Waits (THE FISHER KING, THE IMAGINARIUM OF DOCTOR PARNASSAS) Waits steals the show in THE FISHER KING as “Disabled Veteran” with a monologue in which he declares: “I’m what you call kind of a “moral traffic light”, really. I’m like sayin’, “Red! Go no further!” Looks like he may be set to steal the show again in IMAGINARIUM… in what may be the meatiest role on this list: Mr. Nick/The Devil. Also between these 2 roles his song “The Earth Died Screaming” appeared in TWELVE MONKEYS.

Robin Williams (THE ADVENTURES OF BARON MUNCHAUSEN, THE FISHER KING)
The wild wacky fast talking Williams looked at the time like he might become a Gilliam mainstay but alas that so far was not to be. In MUNCHAUSEN his manic “King Of The Moon” (“I think therefore you is”), whose head detaches from his body, hurriedly floats off with the movie for a few priceless moments, but it’s his touching role as Perry in THE FISHER KING that stacks up there with Williams’ best work.

Okay! Is there anyone I missed?

More later…

GONZO: Fawning & Loafing On The Bio-Doc Trail

GONZO: THE LIFE AND WORK OF DR. HUNTER S. THOMPSON (Dir. Alex Gibney, 2008)

Every book on my shelf has a different definition of the word “Gonzo”; it’s a style of journalism, it’s an ethic – when I was a kid it was a Muppet. The basic meaning, as best I can gather, is when a commentator, reporter et al. is so intensely immersed in their story that they become part of it. The alternate meanings can be summed as an ‘in your face’ fact and fiction blurred aesthetic where anything goes. Despite Spanish or Italian roots (again depends on what book you read) the term became part of the popular lexicon in the introduction of an article by Hunter S. Thompson in 1970. Thompson who by then already had a reputation as an gun-toting druggie “Freak Power” anarchist is the subject of this over reverant documentary by Oscar winning dierctor Alex Gibney (TAXI TO THE DARK SIDE).

Thompson spent much of the last 40 years in front of a camera when he wasn’t shooting up (in every possible way) so there is much fascinating footage to wade through with news reports about his Hell’s Angels meddling, talk show appearances, and amatuer film of his campaign for Mayor of Aspen, Colorado making for a juicy narrative. Johnny Depp, who played the man in Terry Gilliam’s 1998 adaptation of FEAR AND LOATHING IN LAS VEGAS (which this film uses too many clips from), frames a number of segments with readings from Thompson’s work but since that device drops and he isn’t heard from throughout lengthy chunks of the film he can’t really be considered a narrator though he’s credited as such.

Then there’s the music – with some of the most obvious 60’s songs employed to make easy points this has to go down as one of the least imaginative soundtracks for a period doc ever. I mean, how many times am I gonna have to see “All Along The Watchtower” * cut to war footage? Stones, Joplin, CCR, Lou Reed’s “Walk On The Wild Side”; come on! Gibney makes a movie that feels like it was made by somebody whose never seen any 60’s or 70’s docs before. It’s also so not neccessary to go through the deaths and overused footage of MLK, RFK, and General Nguyen Ngoc Loan executing a Viet Cong prisoner in Saigon to get to the heart of Hunter S. Thompson but there it is and go through it again I guess we’re doomed to do forever.

* To the films credit the version of “Watchtower” used is from Bob Dylan and The Band’s live performance on “Before The Flood” (1974) not the incredibly done to death (movie-wise that is) Hendrix version.

Concentrating mostly on Thompson’s early career and glossing over the rest since the 70’s to his death in 2005, GONZO does have its merits. There are interviews with the charming yet still smarmy asshole Rolling Stone editor Jann Wenner, former Nixon-aid turned Republican Presidential candidate now full-time Conservative commentator Pat Buchanan (who surprisingly has reams of insight), 1972 Democratic Presidential nominee George McGovern, and especially Thompson’s ex-wife Sandy Conklin Thompson (whose name is now Sondi Wright). There are many great anecdotes with Ralph Steadman’s iconic splattered cartoons injecting the proceedings with some much needed rough edges. For the uninitiated this portrait may be an eye opening overview; to those well versed in the counterculture and the beginnings of the “new media” this may come off as an incomplete too respectful playing of Thompson’s greatest hits with very little new insight gleemed. In the end it’s just more than a bit disapointing that a film about the Gonzo mind-set and output of one of the most notorious and unruly writers of the last half century could be such a standard straight forward bio-doc; in other words so non-Gonzo.

More later…

10 Of The Most Misleading & Mis-Representing Movie Posters Ever!

In this interview with Pitchfork Academy Award-winning Irish songwriter Glen Hansard complains about the photoshopped makeover the poster for his film ONCE got on its recent DVD release:
“They have us holding hands, which we never do in the film! Those legs aren’t mine. Those legs are like three times longer than my legs. It’s a completely new body. They literally just used my face…If you look at my head, my head looks totally weird, because whoever did the Photoshop job was sh-t. My head looks really weird, they took my hat off, and they gave me an entirely new body. It’s completely bizarre. And they made Mar [co-writer/performer Markéta Irglová] much taller than she really is. You can look at the original cover and then what they did to it and spot all the crappy differences. It’s awful. It’s a real shame.”

Hansard is understandably upset because he designed the original poster and DVD cover himself. Some of the changes are more annoying than offensive but the “holding hands” deal – anybody who has seen the film knows how freakin’ misleading that is! Also Hansard’s comment illustrates how wide the gap is between who makes the art and who martkets it so it got me to thinking about misleading and downright mis-representing movie posters. Many have irritated me throughtout my years as a film fan. Now, it can be argued that most movie posters are misleading because that’s their job – to make the movie look bigger and better than it is so it’s a bit silly to pinpoint such offenses so call me silly as I make another patented Film Babble Blog list:

10 Of The Most Misleading & Mis-Representing Movie Posters Ever!

1. KING KONG (Dir. John Guillermin, 1976) As for trying to make the movie look bigger and better than it is, this one really takes the cake! Sure, there was a lot that was bogus about the 70’s remake of the 1933 classic but the overblown spectacle depicted on this poster doesn’t resemble what happens on screen at all. First off, Kong looks to be 5 times his size in the film – large enough to stand balanced between both World Trade Center Towers – he had to make a running leap from one to the other in the actual scene. Second, there were only helicopters in the movie so his crushing a jet plane (notice the size of it in perspective as well). Third, this sequence takes place at night. Fourth, this was not “the most exciting original motion picture event of all time”. Okay, so those last 2 were nit picking but no less than Saturday Night Live pointed the former offenses out in a Tom Snyder show sketch with John Belushi as Dino De Laurentiis. Snyder (Dan Aykroyd) questions the producer: “Sir, the advertising for your movie, the billboards and so on, depict King Kong crushing jet planes in his hands, but, sir, there is not one jet plane in the movie…isn’t that kind of a hype?” The elusive De Laurentiis by way of a slick slimey Belushi impression avoids the question by bringing up the hype of his competition – Jon Peter’s A STAR IS BORN (“your monkey can sing!” De Laurentiis says he told Peters) but we all know that he’s been satirically called out.

2. STAR WARS (Dir. George Lucas, 1977) This one always irked me as a kid. None of the characters look right – even Darth Vader looks a bit off. The image, while I’m sure some will grumble at it’s inclusion here because it is inarguably iconic, doesn’t really reflect the look and style of the record breaking blockbuster. Resembling 70’s sci-fi pulp novel jackets with it’s overly ripped muscular hero, overly sexy heroine (neither of which look anthing remotely like Mark Hamil nor Carrie Fisher), against a backdrop of battle, this poster most likely bugged me back in the day because the exact concept was redone a few times by other artists and never really improved upon. In the next few years when STAR WARS * was re-released several new poster designs appeared which were better in concept and presentation of the leads. Han Solo was even allowed to show his mug. Seems like it was only after it was a big hit with audiences did they figure how to market the movie. Or more accurately re-market the movie.

* Again, I’m not calling it EPISODE IV: A NEW HOPE damnit!

3. THIS IS SPINAL TAP (Dir. Rob Reiner, 1984) This one is especially off-putting. Rob Reiner’s debut film is made to look like a sight-gag filled laugh-a-minute spoof, and while it did have some of that to it – it was really a different comic model than the film its poster was referencing. Reiner in an interview from Mojo magazine (Nov. 2000) recalled how he hated the concept: “They marketed it with a guitar flying in the air with a twisted neck which looked like the poster for AIRPLANE! It looked like it was trading on another film. It was one of the reasons why I started Castle Rock because I wanted control over marketing.” The image remained on the first video release of THIS IS SPINAL TAP (pictured to the left) but was replaced later but a plain black cover for the DVD releases. Glad to see it’s gone.

4. BRIDGE ON THE RIVER KWAI (Dir. David Lean, 1957) The excellent blog Cinemania called this one to my attention. Dan Jardine wrote: “And could there be a more misleading movie poster?” It is pretty absurd in that it mis-represents the feel and focus of said Best Picture Winner. Not sure why Holden is billed above Alec Guiness either. I just saw this film for the first time all the way through (seems like it’s been on TV my whole life but I never sat down and watched it all) so this caught my eye as being pretty notably non-complimentary.

5. SOYLENT GREEN (Dir. Richard Fleisher, 1973) Actually I think I like this poster better than the movie! It’s more exciting and I can understand why they would want to draw attention to population controling monster trucks to fake moviegoers out about what SOYLENT GREEN really is. In fact you’ve got to give them credit because without all the misleads in the marketing and the film itself the quotable twist ending would not have been as effective and this would not be the sci-fi cult classic that it is.

6. CLASS (Dir. Lewis John Carlino, 1983) This may be a fairly insubstantial film, especially in the company on this list, being a mostly forgotten 80’s drama/comedy (hate the word ‘dramedy’) but I think it makes a good point about mis-marketing. A popular genre of the Reagan era was the teen sex comedy (epitomized by such schlock as PORKY’S, THE LAST AMERICAN VIRGIN, PRIVATE LESSONS *, etc.) and while this film did contain some college party shenanigans it really didn’t fit into that genre. That didn’t mean that it couldn’t be marketed as such – with a stupid poster that not only mis-represented the characters it gave away the only interesting plot-twist! The poster image may be hard to read – it says: “The good news is Jonathan is having his First Affair. The bad news is she’s his roommate’s mother!” Makes it seem like wackiness ensues, huh? Well, let me tell you – it doesn’t.

* Not linking to any of that crap.

Dishonorable Mention From The Same Era: FAST TIMES AT RIDGEMONT HIGH (Dir. Amy Heckerling, 1982) This also mis-represents majorly by making it look like Sean Pean’s character Jeff Spicoli is the protagonist when he is a small player in an ensemble. His head appears to be cut from another picture as he is joined by two models who don’t appear in the film at all. Like CLASS, the film had a good bit of depressing drama so the over selling of the sex really didn’t clue in audiences. It also has a stupid tagline: “At Ridgemont High, Only the Rules get Busted!”

7. SCARY MOVIE (Dir. Keenan Ivory Wayans, 2000) This one is here for one reason only – the worthless promise of its tagline: “No mercy. No shame. No sequel.” Did you get that? “NO SEQUEL!” There were 3 damn sequels to this should’ve been a one-off throwaway. Sure, you can argue that they didn’t plan on a sequel until the movie became a hit but that’s a possibility you know they were aware of. For the SCARY MOVIE 2 they ad campaign addressed this: “look, we lied!” but the damage was done. I liked it better when Mel Brooks’ lame Python rip-off HISTORY OF THE WORLD PART I didn’t gather enough acclaim or box office to warrant a sequel. Ah, those were the days…

8. THE DAY THE EARTH STOOD STILL (Dir. Robert Wise, 1951) This one is great as a piece of 50’s sci-fi B-movie pop art but incredibly misleading on all fronts. Hell, some even complain that the title of the film is misleading but I won’t go there. I won’t bitch about a color image for a black and white film, that was pretty much the norm then, but the depicting of action that never occurs and that, uh, what looks like a monkey’s hand on top of the Earth image is, well, just plain dumb. I do love the tagline though “From Out Of Space….”

9. JABBERWOCKY (Dir. Terry Gilliam, 1977) Another from my childhood that really pissed me off. Although it followed the likewise Medieval MONTY PYTHON AND THE HOLY GRAIL and had Michael Palin as the star this was not a Python project – it was Terry Gilliam’s solo directorial debut but was not billed as such. Wikipedia says: “For its American premiere the film was initially advertised as ‘Monty Python’s Jabberwocky’, but this was dropped following protests from Gilliam.” It wasn’t immediately dropped though – for years posters and videocassette releases and many international showings had the Python credit. It confused me back in the pre-internet 80’s when I was devouring all things Python. Watching it without the proper info that it wasn’t really a Monty Python movie I felt like I was a victim of cinematic false advertising. Gilliam seems to have been successful in ridding the world of the inaccurate billing – The only image I could find was the Greek one-sheet (available from MoviePictureArt.com for $45.50!) above.

10. 24 HOUR PARTY PEOPLE (Dir. Michael Winterbottom, 2002) This is a more recent title that annoys me terribly. It’s one of my favorite films of the last 10 years and it’s extremely rewatchable so I see the DVD cover a lot and hate that it has a close-up of a girl dancing showing off her tongue-stud when no such image is in the film. Maybe I blinked and missed it so if you saw such please let me know. Otherwise the image makes the film look more like a modern era ecstasy-rave movie than the spunky smart-ass 80’s Manchester rock portrait it really is.

So, since there are zillions of misleading mis-representin’ movie posters out there – please let me know your personal choices.

More later…

On-The-Air Amusement And Angst

After seeing the new movie TALK TO ME (reviewed below) I got to thinking about radio personalities in the movies. Sometimes they are disc jockeys, sometimes they have specialty call-in shows, sometimes they are rabble rousers – sometimes all three. Let’s take a look at some of the most memorable motor mouths :

Barry Champlain (Eric Bogosian) in TALK RADIO (Dir. Oliver Stone, 1988) Champlain is the epitome of all three of the above. His station announcer introduces him as “the man you love to love” and he gets more death threats than phone-ins. Taking place almost completely around a radio console as Barry insults, cajoles, and just plain provokes callers TALK RADIO can best be considered a comic tragedy. It expands on the stage play (recently revived on Broadway) by giving us Barry’s back-story showing his rise to be one of the top talk radio personalities in Dallas on the verge of national syndication. His fame though is running face to face with the mounting militia-based hatred of much of his audience. Barry’s final break-down resulting in a mesmerizing monologue lays bare a pathetic self destructive unsalvageable soul but the announcer is right – over the years I’ve come to love to love the man whose signature sign-off line is “Sticks and stones can break your bones but words cause permanent damage.”

Adrian Cronauer (Robin Williams) in GOOD MORNING, VIETNAM (Dir. Barry Levinson, 1987) Based on the real life experiences of a Armed Forces Radio Saigon disc jockey this role features Williams way before he became so annoyingly over-exposed and before his film formula became so, well, annoying. Dealing with uptight army officials (the late greats Bruno Kirby and J.T. Walsh) and ignoring army playlists and protocol Cronauer learns and grows mostly when he’s not on the air but some maturity is shown on the mike before we reach the treacly but still affecting conclusion.

David “Dave” Garver (Clint Eastwood) in PLAY MISTY FOR ME (Dir. Eastwood, 1971) Eastwood’s directorial debut with him as a soft spoken (I know, of course) disc jockey is really more of a thriller (the mold of which would be later used for FATAL ATTRACTION – 1987) than a radio-related story. Garver’s most loyal fan (Jessica Walter) repeatedly makes the request of the title which is all good that is until she becomes a stalking murderous mad woman. Maybe it’s because she fell overboard for Garver’s smooth soothing tone. Maybe like Dylan, Eastwood should consider doing a XM satellite radio show – that is if he’s not afraid of attracting new stalkers.

Leon Phelps (Tim Meadows) in THE LADIES MAN (Dir. Reginald Hudlin, 2000) Yeah! Another awful movie made from a running SNL sketch character at least has some radio-tested charm by way of Phelps’s smarmy self intro :

“I am an expert in the ways of love. I have made love to many fine ladies from the lowliest bus station skank to the classiest most sophisticated, educated, debutant, high society… bus station skank.”

Phelps is a Chicagoan host of a late night sex advice show who is always accompanied by a glass of Courvoisier and an unjustified arrogant romantic philosophy. He unwisely journeys out of the studio to hunt down an ex-lover. I think that was the plot, I mean really – who cares?

Jack Lucas (Jeff Bridges) in THE FISHER KING (Dir. Terry Gilliam, 1991) The role of the “shock jock” gets played here in a role that comes from the same cloth as TALK RADIO‘s Barry Champlain. The twist here is – what if the guy has a conscience? One of Lucas’s random radio comments inadvertently causes a mad man to open fire in a bar and one of the patrons – history professor Parry (Robin Williams again) watches as his wife gets killed. Tossed out of the radio fame game Lucas meets a homeless deranged Parry years later. Lucas decides to help Parry which will in turn be his redemption. Lucas even has a radio catch-phrase that fits in with the movie’s premise, the Steve Martinesque “hey, forgive me!”

Howard Stern (Howard Stern) in PRIVATE PARTS (Dir. Betty Thomas, 1997) Playing himself in his own biopic (based on his bestselling book) is not surprising considering the size of the ego of the self-proclaimed “king of all media” but come on, who else would or could do it? The best scenes here are the re-creations of Stern’s infamous broadcasts and not the rom com trappings surrounding them. Much has changed for the man who popularized the term “shock jock” in the ten years since PRIVATE PARTS was released. Mainly the divorce from the woman that this film was a Valentine to and the gigantic $500 million Sirius Satellite deal that got him off regular radio make the meager goals of this movie seem quaint today. Funny how cute rather than cutting Stern seems when looking at this portrayal today – especially his naive reaction to Don Imus’s (played by Luke Reilly – of course Imus wouldn’t appear in this film) dismissal of him when they are first introduced.

Shirlee Kenyon (Dolly Parton) in STRAIGHT TALK (Dir. Barnet Kellman, 1992) Yep, it has been a sausage party in the booth so far so we gotta to acknowledge Dolly! Sure, it’s a silly disposable comedy but it’s Dolly! She brings her smirking spunk to play a woman who through a wacky mishap is mistaken for a certified psychologist and becomes a successful radio talk show host. It feels unfair to bash on this innocuous inanity especially when it has Dolly wrapping her Southern lips around such lines as “get down off the cross honey, somebody needs the wood!”

Okay! So now on to the current release about a real-life radio semi-legend :

TALK TO ME (Dir. Kasi Lemmons, 2007) Ex-con turned outspoken AM Disc Jockey Ralph Waldo Petey Greene is not a household name these days and this movie is probably going to do little to change that. In the age of Stern and Imus the labeling of a broadcaster as a “controversial radio personality” doesn’t carry the cache it used to. Greene’s (Don Cheadle with a raspy clipped voice) story taking place during the turbulent late 60’s in Washington D.C. does have gusto and a strong sentiment but the formulaic biopic approach mars the third act. MLK’s death, riots, and demonstrations are given about the same amount of depth as the historical background in DREAM GIRLS. To its credit Cheadle does his thing though in a decisively funkier manner than before, Chiwetel Ejiofor slickly plays the right notes as his producer, Martin Sheen takes a few satisfying solos as the uptight white station manager who is perpetually about to pull the plug on Greene, and Cedric The Entertainer is well, there. Greene’s legacy will get a few more fans from this treatment as it is not without heart, it’s just that its soul is that of a TV movie.

More later…

Film Within A Film Follow-up Fun!

“Life is like a movie. Write your own ending.”
– Kermit The Frog in THE MUPPET MOVIE (Dir. James Frawley, 1979)

Looks like I made some serious ommisions according to the many many readers who wrote in about my 10 Definitive Films Within Films (07/01-07/08) post last time out so here’s some of the best suggestions, picks, and oversights :

Tony Ginorio suggests :

“Something’s Cookin’“, the cartoon that opens WHO FRAMED ROGER RABBIT (Dir. Robert Zemeckis, 1988). An excellent pastiche of a 1940s Tex Avery short, with Roger and Baby Herman unleashing mayhem as only animated characters can. Halfway through, however, the director yells “Cut!”, and what at first seems like a mere cartoon suddenly becomes a live set, with a flesh-and-blood director chewing out his ink-and-paint actors, completely up-ending our preconceived notions of what is “real” and what is movie magic. Not only does this clever device introduce the film’s main concept – that animated characters are real – it also foreshadows the way characters and events in the main story are not what they seem: how a simple infidelity case turns out to be a cover-up for something far more sinister, and how a certain femme fatale turns out to be “just drawn that way.”

Mike Weber writes :

Billy Bright (Dick Van Dyke) watching his old movies on late-night teevee in THE COMIC (Dir. Carl Reiner, 1969) – which I swear was a major part of the inspiration for Firesign Theatre’s “Don’t Crush That Dwarf” album, which came out the next year and ends with an identical setup.

“See You Next Wednesday” – in any number of John Landis films (and the”Thriller” video) – but best in AN AMERICAN WEREWOLF IN LONDON (1981). *

Peter Bogdanovich’s TARGETS (1968), which uses outtakes from THE TERROR (1963) as the latest film from star Byron Orlok (Boris Karloff), at whose drive-in premiere the ultimate confrontation takes place.

The whole setup for KISS KISS BANG BANG uses an actual film from1987 (DEAD AIM) that featured one of the cast (Corbin Bernsen). Footage from DEAD AIM was used as a film called “Johnny Gossamer“, in which the character played by Bernsen is used as part of the McGuffin.

* Though we never actually see any of it, the fictional film “See You Next Wednesday” (based on a quote from 2001 : A SPACE ODYSSEY) is like Mike remarks above a running gag through-out just about every John Landis movie (including KENTUCKY FRIED MOVIE, THE BLUES BROTHERS, & COMING TO AMERICA) it even warrants this Wikipedia entry.

Mike also wrote back :

“I completely forgot the double feature from the marquee of the theatre in the beginning of GREMLINS (Dir. Joe Dante, 1984) – “Watch the Skies” and “A Boy’s Life” – the working titles of CLOSE ENCOUNTERS OF THE THIRD KIND (Dir. Steven Spielberg, 1977) and E.T. THE EXTRA-TERRESTRIAL (Spielberg, 1982).

A lot of people emailed me that DRIVE-IN (Dir. Rodney Amateau, 1976) should have been noted but Jon Futrell made the case best :

As a fan of drive-in movie theaters, I’d have to say my favorite movie within a movie is “Disaster ’76” from the 1976 release DRIVE-IN. A production of the equally fictional Executive Pictures (complete with Mount Rushmore logo), “Disaster ’76” plays on the screen at the Alamo Drive-in one Friday night. A jumbo jet is bombed on a New Year’s Eve flight, knocking out the entire crew except for stewardess Margo. A ship’s captain (in full uniform no less!) takes the control and tries to land. Instead, he crashes into a high-rise skyscraper creating “a tower of an inferno”. Somebody actually said that in “D ’76“. While the folks at the drive-in have their own romantic and criminal issues at the theater, there’s floods, sharks and an overturned cruise ship on the screen. It’s almost a shame that Irwin Allen didn’t make a similar “all disasters in one” type of film.

Film Babble sadly notes that DRIVE-IN is not available on DVD at the present time – sigh.

J Campie a film critic from Managua, Nicaragua (Confidential.com) agrees with many of those who wrote in when he writes :

Please include in your list “El Amante Menguante” (you can translate it as “The Shrinking Lover“, although it loses the poetic bent of the original spanish title). This is a fake silent movie that Benigno watches in TALK TO HER (Dir. Pedro Almodovar, 2002) In it, a man shrinks so that he can actually enter his complete self inside the woman he loves. I know it sounds….strange and icky to say the least, but on the movie it looks lovely, and works wonderfully to highlight the central themes of the best Pedro Almodovar film ever made.

Jeff Beachnau states :

You forgot the two (well, 3) greatest movies shown in Christmas classics –

“The Night the Reindeer Died” starring Lee Majors shown at the beginning of SCROOGED (Dir. Richard Donner, 1988). *

And the greatest movie within a movie of all time (which I didn’t even know until I grew up that they weren’t real movies), “Angels with Filthy Souls” and “Angels with Filthier Souls” shown in HOME ALONE (Dir. Chris Columbus, 1990) and HOME ALONE 2 : LOST IN NEW YORK (Dir. Chris Columbus, 1992).

* It’s a TV movie but I’ll allow it.

Other films within films that multiple movie lovers wrote in :

“Devil’s Squadron” in THE STUNTMAN (Dir. Richard Rush, 1980)

“Living In Oblivion” in LIVING IN OBLIVION (Dir. Tom DiCillo, 1995)

SILENT MOVIE (Dir. Mel Brooks, 1976) Was the first major silent feature film in forty years that Mel Funn (Brooks) and cohorts Dom Deluise and Marty Feldman were trying to make actually named SILENT MOVIE? It’s been decades since I’ve seen it so – anybody know the answer? Anybody?

“O Brother, Where art thou” from SULLIVAN’S TRAVELS (Dir. Preston Surges, 1941) This of course is notable because it was a fake movie within a movie that became a real movie almost 60 years later thanks to the Coen Bros.

“COVEN” in AMERICAN MOVIE (Dir. Chris Smith, 1999) Another film within that is a film itself on its own – though COVEN is only 40 min. long.

“The Spy who Laughed at Danger” from HOOPER (Dir. Hal Needham, 1978)

“The Old Mill” from STATE AND MAIN (Dir. David Mamet, 2000)

This one I felt truly ashamed as a hardcore Python fan to have not noted –

“The Crimson Permanent Assurance” from MONTY PYTHON’S THE MEANING OF LIFE (Dir. Terry Jones, 1983) Notable for many reasons but to break it down to the principles – A: Terry Gilliam’s tale of elderly anti-globalization office clerks commandeering their workplace structure and turning it into a pirate ship was originally supposed to be inside the movie but it became such an entity itself at over 15 minutes it cost much more than the rest of the production. B: – Matt Frewer (Max Headroom) makes his film debut in it. And C: – It comes back to disrupt the movie from within – an announcer even says “we interrupt this film to apologise for the unwarranted attack from the supporting feature…”

Okay! Next time out actual film reviews of movies in theaters and movies out recently on DVD -so please stay tuned.

300 Blows So Turn To Some New Release DVD Relief

So I made it out to see the #1 movie in the US of A earlier tonight. I knew going in that it wasn’t really my genre (so keep that in mind – obviously I’m in the minority as the box office indicates) but I gave it a whirl. Now I’ll take a stab at a review :

300 (Dir. Zach Snyder, 2006)

“This isn’t going to be over quickly and you will not enjoy it.”
– Theron (Dominic West)

My sentiments exactly. The Battle of Thermopylae in 480 B.C. is told in tortuously tedious terms here. Based on Frank Miller’s graphic novel, 300 is relentlessly stylised beyond any level of actual human connection. Much of the time it resembles a vacous video game or a glib expensive TV or historically themed magazine ad with it’s artificial gold or silver-hued grainy surface. A passionless sex scene early in the film is shot just like a Calvin Klein Obsession commercial. King Leonidas (a mightily melodramatic Gerald Butler) leads the obsessively dedicated but small army of 300 Spartans, who with their red capes and bare chiseled chests march through the hills looking like the scariest Chippendales review ever.

In this gallant Kamikaze mission they take on waves of thousands of attacking Persians in stop/start MATRIX-ish methods like frozen in mid-air assault positions and slo-mo floating droplets of blood all done as CGI composition on top of blue-screen backgrounds. None of it feels or looks real, and I know that’s precisely the point but I never felt anything for any of the characters and none of the countless deaths – many by spear – pierced through my bored indifference. With none of the soul of the best action war epics 300 dies just as dreary a death as the heroes it depicts.

Now some more new Release DVD reviews. Enjoy!

TIDELAND (Dir. Terry Gilliam, 2006) Only film fans who haven’t been paying attention would be unaware of Terry Gilliam’s near complete ostracisation from the world of commercial film. The ex-Monty Python member is notorious for ferociously fighting major studio heads, plentiful production problems, and wildly going over budget leaving numerous projects stalled in development hell and making him ineligible to direct movies he would be perfect for – like one or two of the HARRY POTTER movies for example. If one were to put on the DVD for TIDELAND having not read anything about it (and with little to no promotion that’s very possible) they may be surprised to see Gilliam at the beginning of the film giving a disclaimer/introduction. In a shadowy grainy black and white headshot that’s almost as scary an image as anything in TIDELAND Gilliam states :

“Many of you are not going to like this film. Many of you luckily are going to love it. And then there are many of you who won’t know what to think when the film finishes but hopefully you will be thinking.”

He goes on to explain that the film is seen through the eyes of an innocent child and that while viewing it one should forget what they know as a cynical adult. Easier said than done but once TIDELAND gets going it casts a long lasting spell as potent as one’s most fantastical child-hood day dream (or nightmare). The child in question in this adaptation of Mitch Cullin’s 2000 novel is Jeliza-Rose (10 year old Jodelle Ferland) who has a SHINING-like habit of talking to her index finger alternately wearing 5 different doll-heads who each have bitchy personalities and voices of their own only heard by her. When her junkie mother Queen Gunhilda (a typically crazy Jennifer Tilly) dies early on from a heroin overdose, Jeliza -Rose’s father Noah (Jeff Bridges doing what appears to be a Kris Kristofferson impression to ward off comparisons with Jeff “The Dude” Lebowski) buses them out to the middle of nowhere (actually Saskatchewan) to hide out in his long deceased Mother’s abandoned farmhouse. Then things start to get weird.

Before long Jeliza-Rose meets her neighbors – the one-eyed witchy Dell (Janet McTeer) and the epileptic Dickens (Brendan Fletcher)who excitedely plots destruction by way of dynamite derailing a passing passenger train that he thinks is a monster shark. Noah also dies of an overdose, from a fix prepared by his dutiful daughter no less and Dell performs taxidermy on his corpse so it can still join them at a place at the dinner table come mealtimes – “he looks like a burrito” Jeliza-Rose exclaims. It’s all seen in tilted camera angles and wide panoramic shots that enhance the orange wheat field landscape. The stark reality that originally grounds the film continually threatens to escape into Jeliza-Rose’s Alice In Wonderland-influenced dementia. The scenes between Fletcher and Ferland come close to having inappropriate sexual overtones but remembering Gilliam’s warning and sensing the true tone should eliminate any uncomfortable tension.

TIDELAND appears to be the worst reviewed movie Gilliam has ever made. It has a 26% rating on Rotten Tomatoes.com (the site that tailies up the major critic’s ratings) and the words “ugly”, “pointless”, “murky” and especially “unwatchable” come up in just about every review. Well I’m going against the tide here – this is a moving and darkly beautiful masterpiece. Ferland wonderfully carries the movie with even her doll’s head’s (and one squirrel) voices playing the right heartbreaking notes and every scene is perversely perfect in it’s construction. So as Giliam predicted I am luckily among the few who loved it.

HALF NELSON (Dir. Ryan Fleck, 2006) A young African American female student named Drey (Shareeka Epps) at an inner-city high school walks in on her white 20-something-year old teacher Dan Dunne (Ryan Gosling) smoking crack in the girl’s locker room. They form an unlikely friendship and get worrisome windows into each other’s troubled lives. Epps is growing up too fast in a world of dealers and street crime while Gosling (Oscar nominated though everyone knew he wouldn’t win) is in a state of stunted growth muddling his conviction for teaching Civil rights history and coaching the girl’s soccer team.

More tension arrives in the form of Anthony Mackie as the impeccably smooth Frank – a pusher and family friend of Drey’s that Dunne warns Drey to stay away from. A stilted confrontation between the 2 men occurs but the level of conflict is low and surprisingly speech-free. Purposely gritty and well acted HALF NELSON works as an exercise in realism with no sappy wrap-ups or enforced morals. Well acted with a sober intensity throughout makes one feel that they’ve spent an hour and 40-something minutes with some real people and that’s very rare these days.

FAST FOOD NATION (Dir. Richard Linklater, 2006)
It would be easy to label this a brother or sister film to THANK YOU FOR SMOKING as a dramatized indictment of big corrupt corporations and their consequences on everyday people but FAST FOOD NATION contains none of that film’s semi-successful sense of satire, cynicism or exaggerated allegory. Taking Eric Schlosser’s best selling muckraking non-fiction book and throwing out all but the title and it’s central issues, Linklater gives us several tangled narratives – unfortunately none compelling enough to really have impact. In one thread that is dropped half-way through a Mickey’s (a fictional McDonald’s type chain) exec. Don Anderson (Greg Kinnear) investigates claims that manure may be in the beef. In another, Mexican immigrants (Wilmer Valderrama, Catalina Sandino Moreno, Ana Claudia Talancn) work at an incredibly unsavory meat proccessing plant and have their lives compromised at every turn. Then there’s also Amber (Ashley Johnson) – a teenage employee of a Mickey’s that is developing activist ideals while her co-workers plot a possible robbery of their own establishment. Not to forget the pointed cameo by Bruce Willis or the pointless cameo by Linklater regular Ethan Hawke.

The strong cast (including Kris Kristofferson, Luis Guzman, Patricia Arquette, and Avril Lavigne!) and Linklater’s mastery of dialogue driven scenes is what this movie has got going for it but the overall unpleasantness and lack of new insight into this material makes it unappetizing in a different way than it set out to be. Seeing the factory killing floor in action in any context is disturbing and eye-opening, here though it doesn’t have the intended effect of enhancing all the loose threads. FAST FOOD NATION has its civil conscience in the right place, sad that it’s cinematic heart isn’t.

Correction : In a post earlier this year I listed INDIANA JONES 4 as a movie to look forward to in 2007. It’s reported release date is actually May 22nd, 2008. Also I was told by a loyal film babble reader that the last time Harrison Ford portrayed Indiana Jones was not in INDIANA JONES AND THE LAST CRUSADE (1989) but here.

More later…