Well I realise I skipped a year, as I wasn’t well last Christmas. This year I’m in much better health and can post my usual Yuletide blog post. This year I got some lovely prezzies, my usual Scarlett Johansson calendar, the Criterion release of The Irishman, Tenet in 4K UHD, the official guide to Cyberpunk 2077, two framed movie prints (Taxi Driver & Pulp Fiction) with signatures, a FunkoPOP of The Mandelorian’s The Child, … as well as clothing, smellies, chocolate etc. Very very nice.
I hope everyone I got prezzies for liked what I got them, and I send my Christmas thank yous to all the visitors of this blog and hope you have a great Christmas and a happy New Year (let’s hope 2021 is a vast improvement on 2020).
Everyone knows the song… ‘Born To Be Wild’ by Steppenwolf – it’s probably the most famous thing about this 1969 classic road movie, and along with its cast of Hollywood rebels like Dennis Hopper, Peter Fonda and Jack Nicholson – the movie was destined for the history books. Yet does it deserve to be there? Fonda & Hopper play Wyatt and Billy, two bikers travelling across America to New Orleans to watch the Mardi Gras festival. Along the way they bump into hippies, smoke a lot of pot, annoy the locals and muse on life on the road.
There’s no real story here. It’s just two guys driving around, not really encountering much of significance, doing drugs and meeting folk. In fact I found it rather boring. I’ll admit some of the outback scenery is beautifully shot, the camera work is occasionally creative, the soundtrack has some memorable songs and Fonda & Hopper (who also directs) are likeable. An appearance by Jack Nicholson is a fun diversion but short lived and the ending pretty much makes everything that comes before rather pointless.
It’s frustrating as this is regarded as a classic, but there I found little evidence on screen to support that status. I’d heard it was one of a bunch of movies made outside of the ‘Hollywood system’ and is clearly all done on a shoestring budget – which I can appreciate, but when the movie looks like it barely has a script, I have to ask … why bother?
This release, from the U.K. division of The Criterion Collection boasts a decent, newly restored image quality, that whilst grainy is colourful and has depth. The movie is presented in DTS HD Master Audio in both 2.0 and 5.1 options, and there’s also an uncompressed mono soundtrack. Dialogue is generally clear and the various music cues sound great. Extras as with many Criterion releases are plentiful: two documentaries, footage from Peter Fonda & Dennis Hopper’s appearance at Cannes, as well as trailers. The cream of the crop though is two commentaries, one from Dennis Hopper, the other from Hopper, Fonda and production manager Paul Lewis. The release also comes with a fold-out booklet with a new essay from Matt Zoller Seitz. Pretty great for a movie that has a fascinating history which for me was more worthwhile looking into than the movie itself. This release is therefore a must for fans and probably still worth picking up for enthusiasts of cinema history. Yet, if you’re neither I’d give it a miss.
When I heard this 1973 drama was getting a release on the UK division of The Criterion Collection, for a film I had always wanted to see in its entirety – I jumped at the chance. Loosely based on the true story of the state-to-state murder spree of Charles Starkweather and his 14 year old girlfriend Caril Anne Fugate … this changes the names and certain incidents to explore an unconventional love story between Martin Sheen’s Kit and Sissy Spacek’s Holly as they go on the run across the badlands of Montana.
Director Terence Malick, a celebrated auteur delivers an atmospheric, particularly artsy drama that’s never quite as exciting or eventful as it’s premise suggests, going more for a love letter to the American wilderness, some rather gorgeous vistas and an exploration of young love with the backdrop of gradually increasing violence. Spacek narrates like a love sick school kid and her reactions to Kit’s murderous ways are naive and dismissive, which creates a bit of a weird vibe. The influences this later had on movies like True Romance and Natural Born Killers are obvious, but its not quite as entertaining as those movies and is more a movie of ‘it’s time’ and should probably be appreciated as such.
Sheen & Spacek are both very watchable and Sheen has probably never been more iconic what with his James Dean swagger. The movie also has an enjoyably whimsical atmosphere, which I suppose gives the whole thing its own identity. Worth a watch then, but for me hardly essential.
The Criterion Collection once again delivers. The movie whilst often rather soft focus has had the full 4k restoration treatment, and looks great, showcasing the movies naturalistic photography well. The soundtrack whilst only in uncompressed mono is clear and effective-enough. Extras although nearly all archive are plentiful with a 42 minute making of, interviews and an episode of American Justice exploring the real-life crimes of Charles Starkweather. There’s also detailed booklet included, boasting an essay by filmmaker Michael Almereyda. No audio commentary is a bit of a shame but this is otherwise solid treatment for a cult favourite that’s fascinating and enjoyable but not quite the ‘classic’ it’s often celebrated as.
Nostalgia is a funny thing. When I saw that this had been given the prestigious Criterion treatment, I immediately was transported back to when I saw this one night on TV many years ago and remember really liking it. Sitting down now with much more jaded eyes, it transpires it’s not quite the classic I thought it was, even though there’s still fun to be had. Jeff Daniels (Dumb and Dumber) plays Charles, a straight laced office worker who one day has a chance encounter with free-spirited Lulu (Melanie Griffith) who takes Charles on a road trip straight out of his comfort zone that awakens a side to him he never knew he had. Everything is going great until they bump into Lulu’s jail bird husband (Ray Liotta) who seems hell-bent on winning Lulu back.
Its a good concept and one I quickly felt engaged by, but once the ‘wild’ element of Lulu’s nature falls away and reveals who she really is, the movie stops dead, with a very awkward ‘lets go visit my mom’ scene and a drawn out high school reunion sequence. Thankfully once Liotta turns up the movie is cranked up several levels and transforms into more of a thriller. Liotta is brilliant, channelling that dangerous-charm he later honed to perfection in Goodfellas. Also Daniel’s proves much more than simply an every man for the audience to latch onto. Griffiths is also highly watchable and further proves why she was the go-to actress of the 80’s and has presence and personality to spare. The movie never really hits it’s stride though, suffering from a bit of an identity crisis and is neither funny enough to be a comedy, exciting enough to be a thriller or charming enough to be a love story. Like a lot of the other also-ran movies of the 80’s this one’s a bit of an oddity, but certainly retains a quirky appeal.
This UK Criterion release is rather underwhelming. The image quality, whilst showing off some vibrancy to it’s colour palette is marred by a lot of smudgy shots. There’s generally a soft look and lack of detail to the whole presentation. The 2 channel DTS HD soundtrack doesn’t exactly wow either, but dialogue is sharp even if music cues seem to lack punch. Extras consist of a detailed booklet that includes an essay by film critic David Thompson. On the Blu-ray itself there’s an archive interview with director Jonathan Demme and the screenwriter, and we also get a trailer. Not exactly the exhaustive treatment one might expect from Criterion.
Spike Lee’s powerful 1989 ghetto drama always seemed to me like a poor man’s Boyz N the Hood at the time when I first saw it – where’s all the Mo Fo’s and the Gats? But seriously, this is a very different and believable portrait of racial tension and ignorance that gradually builds up during one hot summers day in suburban Brooklyn. The film revolves around a Pizzeria known as Sal’s and is owned by Italian Danny Aiello and his two sons (with a stand out John Turturro as the bullying Pino) with Lee’s own Mookie as the Pizza delivery boy. After one of the local black guys spots that Sal only has Italian celebrities on his wall of fame, a boycott of the pizzeria is started, and although the film mostly focuses on the comings and goings of a bunch of very vivid characters, trouble soon erupts, leading to a startling climax.
This thought provoking film really pulled me in, and is an intelligent look at different ethnic cultures in modern America and the ignorance and bigotry that can be caused. From a personal viewpoint, I find it hard to sympathise with some of the black characters, who play the victim when they themselves are stirring it up. Although Sal’s boys and some other bystanders don’t exactly make things any easier. Overall this is fascinating, often funny and challenging cinema that really should be seen by the widest audience.
The DVD from the good ‘ol boys at Criterion is a deluxe two disc set, with a wealth of documentaries on the second disc (including a fascinating return to Brooklyn sequence by Spike Lee and producer Jon Kilik) and we also get a commentary track with Lee again and the crew. Picture and sound are first rate, and although the film looks a little grainy in the darker scenes, its vibrant colours are shown off brilliantly. Oh and Public Enemy’s Fight The Power will blow you away, despite the basic 2.0 surround soundtrack (to preserve the film’s original recording).
Mensen maken de samenleving en nemen daarin een positie in. Deze website geeft toegang tot een diversiteit aan artikelen die gaan over 'samenleven', belicht vanuit verschillende perspectieven. De artikelen hebben gemeen dat er gezocht wordt naar wat 'mensen bindt, in plaats van wat hen scheidt'.