Also known as: Eyes (working title) Release Date: August 2nd, 1978 Directed by: Irvin Kershner Written by: John Carpenter, David Zelag Goodman Music by: Artie Kane Cast: Faye Dunaway, Tommy Lee Jones, Brad Dourif, Rene Auberjonois, Raul Julia, Frank Adonis, Lisa Taylor
Major Studio Partners, Columbia Pictures, 104 Minutes
“I’m completely out of control!” – Laura
I’m surprised that I had never come across this film until recently. I just sort of stumbled upon its existence while reading an article where it was mentioned. Considering it was directed by Irvin Kershner, written by John Carpenter and had a damn solid cast, I wanted to check it out.
Also, it’s a ’70s psychic thriller flick and those tend to be right up my alley. It also has slasher-y vibes too and a neo-noir-esque flavor. So in some ways, it reminds me of those damn good neo-noir movies that Brian De Palma did in the early ’80s.
This stars Faye Dunaway, who truly ruled the ’70s and this is just another great role to add to her impressive filmography. She’s pretty much perfect in this and even if she finds herself in the killer’s crosshairs and is very afraid, she plays the role with confidence and some real chutzpah, not being an incompetent damsel in distress. Frankly, this character and Dunaway’s part in bringing her to life feels real.
Dunaway is supported by several top tier male actors, many of whom were up and coming and on the verge of breaking out into bigger things: Tommy Lee Jones, Brad Dourif, Raul Julia and Rene Auberjonois. Each of these guys brought something worthwhile to the film and each one had a good, strong presence, that just made the picture better, overall.
The film also does a good job with its red herrings. As it got closer to the end and a certain character is murdered, I thought the identity of who the killer was, became pretty apparent. However, the movie does keep you guessing for about 85 percent of its duration.
Beyond that, the film looks great but then again, Irvin Kershner is a fine director, who is unfortunately mostly just known for being the guy that directed Empire Strikes Back. While I love Empire and its immense success and iconic place in motion picture history, it does overshadow all of Kershner’s other great movies.
Eyes of Laura Mars is entertaining, creepy and kind of marvelous from top-to-bottom.
Rating: 8/10 Pairs well with: other ’70s and ’80s psychic thrillers and horror films.
Also known as: Black Rider (Japan), Black Moon (Germany, Finland), Luna Negra (Spain) Release Date: January 10th, 1986 Directed by: Harley Cokliss Written by: John Carpenter, William Gray, Desmond Nakano Music by: Lalo Schifrin Cast: Tommy Lee Jones, Linda Hamilton, Robert Vaughn, Richard Jaeckel, Bubba Smith, Dan Shor, Keenan Wynn, Lee Ving, William Sanderson, Nick Cassavetes, Don Keith Opper
Sequoia Productions, New World Pictures, 100 Minutes
“Even the body is unique. it’s made out of Kelvar – the same material they use in bulletproof vests.” – Earl Windom
I vividly remember watching this movie on New Year’s Eve 1990 with my cousin Billy, as we were waiting for midnight and the ball to fall and ring in a new decade.
Why’s that important? It’s not. Other than to say that I remembered watching this, liking it but then never knowing what the movie was and thus, I wasn’t able to see it again until now. Frankly, I had forgotten about it but then I randomly came across the trailer on YouTube while researching something else and it immediately sparked that memory.
And I was pretty stoked because a thirty year mystery had been solved.
However, I’m not sure how I didn’t remember more of the film, as it has a pretty decent cast full of a lot of talent I would’ve known, even as a kid in 1990. Hell, it’s got Bubba Smith in it and I’ve seen the first six Police Academy movies about a hundred times each. Not to mention Lee Ving, who I wouldn’t have recognized as the lead singer of Fear but I would’ve recognized from Clue and Streets of Fire.
The real kicker though, is that this has Tommy Lee Jones, Linda Hamilton and Robert Vaughn in it and somehow that slipped down the memory hole.
What I didn’t know until seeing it now, is that it was written by John f’n Carpenter in a time when the dude was most certainly on his A-game.
All that being said, the movie is just kind of okay. It’s not as great as I perceived it as a kid but nothing ever really is. But it’s still an enjoyable action crime film that’s all about a high tech supercar and different people’s attempts at stealing it.
For Linda Hamilton it felt like a fitting role between the first two Terminator movies, as she’s sort of a mix between damsel in distress (most of Terminator) and kind of a badass (Terminator 2). And this was certainly a better role for her in 1986 than her biggest film of that year, the abysmal King Kong Lives.
This also has a scene in it where a car jumps through the window of one skyscraper, flies through the air and then lands safely in another skyscraper. So for those of you that thought that stunt was invented for those Fast & Furious movies, this film did it first, three decades earlier.
Anyway, this was a good, solid way to spend 100 minutes. That is, if you love to watch ’80s action, suspend your disbelief and like a lot of ham and lead in your diet.
Rating: 6.25/10 Pairs well with: other action movies from New World Pictures and Cannon Films.
Release Date: July 19th, 2011 (El Capitan Theatre premiere) Directed by: Joe Johnston Written by: Christopher Markus, Stephen McFeely Based on:Captain America by Joe Simon, Jack Kirby Music by: Alan Silvestri Cast: Chris Evans, Hayley Atwell, Sebastian Stan, Tommy Lee Jones, Hugo Weaving, Dominic Cooper, Neal McDonough, Derek Luke, Stanley Tucci, Kenneth Choi, Toby Jones, Natalie Dormer, Richard Armitage, Jenna Coleman, Samuel L. Jackson
Marvel Studios, Paramount Pictures, 124 Minutes
“Whatever happens tomorrow you must promise me one thing. That you will stay who you are. Not a perfect soldier, but a good man.” – Abraham Erskine
It was nice going back and revisiting this chapter in the Marvel Cinematic Universe. To be honest, I really hadn’t seen this since about 2012 or so. They pump out Marvel movies so fast that sometimes you get caught up in all the new stuff that the older films get neglected. At the time that this came out, it wasn’t my favorite of the Phase One set of films. I think that’s changed, however.
Captain America: The First Avenger is, first and foremost, an origin story. The first half really has to deal with how Captain America comes to be. The second half has to deal with Cap saving the world from the evil Hydra commander and Nazi officer, Red Skull.
This also introduces us to the Tesseract, which would evolve into the first Infinity Stone to be seen in a Marvel movie. This MacGuffin would be center stage in this film, as well as in the first Avengers movie where its ownership would shift to Loki. This mystical item would carry a lot of narrative weight, as it still exists in the current crop of films and still hasn’t had its power fully unleashed. I’m assuming we’ll see all the Infinity Stones in all their glory when Avengers: Infinity War hits theaters in late April.
But back to this movie.
It is a solid World War II action film that just happens to have a superhero and some crazy sci-fi elements thrown in. Shift some things around and this almost feels like a live-action version of a Wolfenstein game.
The relationship between Captain America and Peggy Carter has helped to define both characters after this film. Both had to move on without the other and under very different circumstances. It was nice coming back to this movie and seeing how it all started. Chris Evans and Hayley Atwell and incredible chemistry and the weight of the scene where Cap crashes Red Skull’s ship is so much heavier now knowing the pain that both of these characters felt after losing one another.
I also liked going back and seeing the relationship between Steve and Bucky before they went to war. This is something else that didn’t have quite the weight that it has now, knowing where their journeys would go in future films.
One complaint however, is that I feel like the villains Red Skull and Zola were wasted. Red Skull could have offered so much more to the franchise and really, he should have come back by this point or another person should have taken over the mantle. Zola, who was a formidable Captain America villain would only return as a computer program.
I actually forgot that Tommy Lee Jones was even in this. It was cool seeing him though. It was also a delight to see the Howling Commandos in all their glory and to be honest, they deserve their own movie or at least a short season television show like Peggy Carter had.
This is the one Marvel film that is a true period piece. The different world this exists in was refreshing and did a lot to enrich the mythos and to expand the universe beyond the films before it.
Captain America: The First Avenger is a solid piece of tent pole, blockbuster filmmaking. It’s a popcorn flick that’s more fun than most and it just feels truer to the title character than even Iron Man did.
Rating: 8.5/10 Pairs well with:Captain America: The Winter Soldier, Captain America: Civil War and The Avengers.
Release Date: May 19th, 2007 (Cannes) Directed by: Joel Coen, Ethan Coen Written by: Joel Coen, Ethan Coen Based on:No Country for Old Men by Cormac McCarthy Music by: Carter Burwell Cast: Tommy Lee Jones, Javier Bardem, Josh Brolin, Kelly Macdonald, Woody Harrelson, Barry Corbin, Beth Grant, Stephen Root, Garret Dillahunt
Scott Rudin Productions, Mike Zoss Productions, Miramax Films, Paramount Vantage, 122 Minutes
“I always figured when I got older, God would sorta come inta my life somehow. And he didn’t. I don’t blame him. If I was him I would have the same opinion of me that he does.” – Sheriff Ed Tom Bell
While the Coens have made some fantastic films over the last several decades, going back to 1984’s Blood Simple, this picture is in the upper echelon of their rich oeuvre. Yet, in a lot of ways, it calls back to Blood Simple in style and for blending together different genres in a unique way. It is also very similar to Fargo, as both films follow a small town cop dealing with a grisly crime from out-of-towners and it is accented by a lot of violence on screen.
Some have called No Country for Old Men a western, others have called it a film-noir. While it takes place in more modern times than the traditional settings of those genres, it does share elements of both. It is very much a neo-western and also a neo-noir in its narrative style. I think that is a big part of what makes this such an extraordinary picture though. It is a hybrid and reinvention of multiple styles but it all weaves together like a gritty, balls out tapestry of masculine intensity.
Other than being in the very capable hands of Joel Coen and Ethan Coen, the film boasts an incredible cast, mostly of badass men.
First, you have Josh Brolin and this is the role that really put him on the map and sort of resurrected his career, as he isn’t remembered for much before this other than in his teen years when he played Brand in 1985’s The Goonies. He was perfectly cast here, as a hunter who stumbles upon a drug deal gone bad, takes a case of money and finds himself in way over his head. Essentially, the hunter becomes the hunted.
Then you have Javier Bardem as the evil hitman Anton Chigurh. Bardem’s Chigurh has become one of the greatest villains in movie history, mainly because of how unusual he is as a person and in how he executes his targets. Chigurh is scary as hell, period. His method of killing is to use a bolt pistol on his targets. A bolt pistol is a tool that uses compressed air to send a bolt through the heads of cattle before their slaughter. In a sense, Chigurh is a remorseless, cold blooded killer and his choice of weapon goes to show that he sees human beings as nothing more than cattle that need to be put down if they find themselves in his path. Although, the fates of some characters are decided by Chigurh flipping a coin, similar to Two-Face from the Batman franchise.
The film also gives us Tommy Lee Jones, Woody Harrelson and Barry Corbin. Jones plays the sheriff that is trying to contain the violence that is running rampant in his county, Harrelson plays a bounty hunter and acquaintance/rival of Chigurh, while Corbin plays a sort of mentor to Jones’ sheriff character. With Jones, we see a sheriff that also finds himself in over his head and is admittedly “outmatched” by the evil in his world. Harrelson, while a bounty hunter, finds himself in the sights of another killer. Like Brolin, these other characters are also on the side of the coin that they aren’t familiar with.
No Country for Old Men is known for its level of violence. While there is a lot of it, I don’t think that it is as violent as the book. However, seeing it come alive on screen is effective. It isn’t done in a way that is gratuitous or to be celebrated or used as a cheap parlor trick to sell the movie, it is presented in a way that shows it in a negative light, something that the sane characters abhor. It exists as almost a commentary against itself but to also shed light on a very real level of violence that exists along the U.S.-Mexican border. While this takes place in 1980, not much has changed in that region.
Two things that really make the film as impactful as it is, on an emotional level, are the film’s score by Carter Burwell and the cinematography by the veteran Roger Deakins. For Deakins, this film was sandwiched between his work on In the Valley of Elah and The Assassination of Jesse James by the Coward Robert Ford. There are some strong visual similarities between the three films and they are three of the best looking motion pictures of 2007.
At this point, No Country for Old Men is considered to be a classic and for good reason. It won four Oscars, the most important being Best Picture. It also won for Best Director, Best Adapted Screenplay and Best Supporting Actor for Javier Bardem’s Anton Chigurh. It was also nominated for Best Cinematography, Best Film Editing, Best Sound Editing and Best Sound Mixing. It shared the most nominations with There Will Be Blood but it beat it out in awards won. As to which is better, that’s open for debate.
Release Date: June 9th, 1995 (Mann Village Theater) Directed by: Joel Schumacher Written by: Lee Batchler, Janet Scott Batchler, Akiva Goldsman Based on:Batman by Bob Kane, Bill Finger Music by: Elliot Goldenthal Cast: Val Kilmer, Tommy Lee Jones, Jim Carrey, Nicole Kidman, Chris O’Donnell, Michael Gough, Pat Hingle, Drew Barrymore, Debi Mazar, René Auberjonois, Don “The Dragon” Wilson, En Vogue, Ed Begley Jr.
Warner Bros., 122 Minutes
“Can I persuade you to take a sandwich with you, sir?” – Alfred Pennyworth, “I’ll get drive-thru.” – Batman
People like to trash Batman & Robin as one of the worst films ever made. It’s far from one of the worst ever. But most people haven’t really dug as deep into the shit barrel as I have. And truthfully, this movie is much worse.
People also love trashing the Schumacher Batman films as a whole but typically say that Batman Forever is okay. No, it absolutely is not okay. It is one of the worst comic book adaptations of all-time. It doesn’t understand the source material at all and it is a clusterfuck of biblical proportions capped off by horrible characters, horrible acting, ugly as hell sets and a hefty helping of several awful ’90s tropes.
Generally I like Val Kilmer. He’s horrible in this and either severely miscast or had such a bad script and direction that he just showed up, read his lines dryly and went back to his trailer to bang babes. I’m going to say that it is both of those things. It’s like no one that made this movie gave a shit about it at all and they just did a bunch of cocaine and then took a shit ton of downers before going on set.
Well, except for Tommy Lee Jones and Jim Carrey, they acted like they were on cocaine mixed with speed. And really, their versions of Two-Face and the Riddler made no sense within the context of who those characters are.
Tommy Lee’s Two-Face was like a crazier version of the Joker and turned up to 11. He was a coked up gorilla dressed like a circus performer. Carrey’s Riddler was another crazier version of the Joker mixed with his Fire Marshall Bill character from the sketch comedy show In Living Color. But I’m also someone that never got Jim Carrey’s appeal and always thought of him as an annoying asshole, excluding Dumb and Dumber and his dramatic work after the ’90s.
Nicole Kidman is completely wasted as the overly horny psychiatrist trying to get into Batman’s head and pants. Chris O’Donnell wasn’t necessarily a bad Robin but the character is a kid, not a thirty year-old. It’s like they took their casting cues from Beverly Hills 90210, a show synonymous for trying to pass off thirty year-olds as high school students.
Well, at least Pat Hingle and Michael Gough are back as Commissioner Gordon and Alfred but really, I just feel bad for them. Hopefully they got paid well.
The film also features nipples being added to the Bat-suit, I’m not shitting you. Plus, it has gratuitous Bat-butt and Bat-crotch action shots.
Lastly, the beautiful Danny Elfman score has been replaced by an awful brassy explosion that never lets up, courtesy of Elliot Goldenthal, who was apparently trying to destroy our eardrums. The Elfman theme and scores were a magnificent part of the Burton films but I guess if Warner Bros. wanted to distance themselves from quality and align themselves with a foot long double meat shit sandwich, than this was a necessary change.
This movie is a steaming pile of neon accented bear droppings. It most certainly needs to be run through the Cinespiria Shitometer. The results read, “Type 4 Stool: Like a sausage or snake, smooth and soft.”