Less Than Zero (1987)

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Clay (Andrew McCarthy) is back in Los Angeles for Christmas following his first semester at college and finds that his ex-girlfriend Blair (Jami Gertz) is now using cocaine and his best friend Julian (Robert Downey Jr.) whom he found sleeping with Blair over Thanksgiving is a serious cokehead indebted to the tune of $50,000 to the nasty Rip (James Spader – frighteningly reasonable) who runs a rent boy ring and gets his creditors to service his clients. This portrait of life in the higher-earning echelons of LA is chilling. Bret Easton Ellis’ iconic novel is a talisman of the mid-late Eighties coming of age set and the icy precision of his affectless prose is inimitable. Once read, never forgotten. Harley Peyton’s screenplay is a fair adaptation but the casting lets this down – with the exception of Downey who is simply sensational as the tragic Julian, gifted with a record company for graduation by his father (Nicholas Pryor) and then simply dumped when he screws up.  This lovable loser’s mouth drools with the effects of his addiction when rehab doesn’t work and he spirals unhappily trying to bum money off his uncle to open a nightclub. Watch the scene when he talks to Clay’s little sister as though she’s a lover who’s pushing him away – knockout. The Beverly Hills scene with its horrible parents and their multiple marriages and awkward dinners with exes and stepchildren, making teenagers grow up too fast, is all too real.  While McCarthy and Gertz just don’t really work – McCarthy’s supposed to be a vaguely distanced observer but he doesn’t convey much beyond a bemused smile, Gertz looks confused and both look too old – the shooting style is cool and superficial, like the lives it critiques. Directed by Marek Kanievska.

War for the Planet of the Apes (2017)

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What have I done? Adapted loosely from Battle for the Planet of the Apes, this continues the saga in a reboot that, for this viewer at least, worked brilliantly in the first episode and not at all in the second (horrible cast, horribly shot). Matt Reeves however is back to direct this and it’s fierce, chilling and captivating, in every sense. Caesar (Andy Serkis) now has a psychological battle (against Koba) and an actual war against an American military whose renegade paramilitary California outfit (the Alpha and the Omega) run by the ruthless colonel Woody Harrelson imprisons apes in a quarantine facility aka work camp where parent apes are separated from their children.  Torture is random and regular while a collaborator ape, Donkey, brutalises his fellows. The allusions to the Aryan Brotherhood and Nazis are inevitable not to mention the theory of eugenics which originated in that great state. Caesar’s personal motive  is now revenge after his wife and younger son, Cornelius, are murdered in raids. He takes off with his own small band of brothers – orangutan Maurice (Karin Konoval), Luca (Michael Adamthwaite) and Rocket (Terry Notary) – and they rescue a little human girl whom they christen Nova (Amiah Miller) who has been rendered mute but is quite the brain. Then they find a seemingly witless addition to their group (Steve Zahn) who repeats the mantra ‘bad ape, bad ape’ but turns out to be quite the strategist. He’s been in hiding since the killer simian flu outbreak. This is quite a bleak but utterly compelling fast-moving narrative with one big scene (a tad too on the nose?) between Caesar and Harrelson in which the prototypical neo-Nazi lays out his reasoning (fighting a holy war for the future of mankind) and explains how he killed his little boy rather than have him disabled by this strange illness causing the loss of speech. Harrelson looks like he did in Natural Born Killers which is probably a reference too far. The crucifying of Caesar (and others) has clear Biblical allusions (water, desert, one rebel and his few followers) and the suffering can be tough to watch. But the action is at a cracking pace. This aspires to mythical qualities and has them in abundance. You might find there is resonance with the current political situation – in many territories – or that might also be a reference too far. Whatever. There is a great but deathly dangerous escape and a tragic sacrifice. You either roll with this or you don’t. I do! Written by Mark Bomback and Matt Reeves, adapting from Pierre Boulle’s source novel which started the whole thang.

Fast Times at Ridgemont High (1982)

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Learn it.  Know it.   Live it. Stacey (Jennifer Jason Leigh) is the 15 year old girl who wants to date and takes tips from the more experienced Linda (Phoebe Cates) who teaches her how to give blow jobs using carrots at lunch in the school cafeteria. Stacey has her virginity taken by a 26 year old in a football field dugout and never hears from him again. Her older brother Brad (Judge Reinhold) is a senior working a MacJob at a fast food joint and is in a going-nowhere relationship for two years with Lisa (Amanda Wyss) who works there too. Stacey’s classmate Mark ‘Rat’ Ratner (Brian Backer) falls for her but she winds up knocked up by his mentor Mike Damone (Robert Romanus) who welshes on paying for the necessary abortion. Stacey’s classmate Jeff Spicoli (Sean Penn) is a stoner slacker who is the bane of history teacher Mr Hand (Ray Walston) but they wind up coming to a detente just in time for the end of the school year. Adapted from Rolling Stone journalist Cameron Crowe’s undercover observational book about a year in the life at a California high school, Amy Heckerling’s feature debut is a sweet and funny if episodic look at some very relatable kids. She helped Crowe rewrite the original screenplay.  Not as raucous as Porky’s or as insightful as The Breakfast Club, it’s notable for not making a big deal about abortion (or topless shots of its female stars) but mainly for being a breakout film for so many future stars and Academy Award winners – including that legendary turn by Penn as the ultimate stoner surf dude. Totally rad!

The Big Lebowski (1998)

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Nobody fucks with the Jesus. The Dude abides. Where to start with one of the most cherished films there has ever been? Not in the beginning. I may have almost had a coronary from laughing the first time I saw this at a festival screening prior to its release, but a lot of critics just did not get it. It’s the Coen Brothers in excelsis, a broad Chandler adaptation and tribute to Los Angeles,  a hymn to male friendship and the Tao of easy living with some extraordinarily surreal fantasy and dream sequences – not to mention some deadly bowling. Jeff Bridges is Jeffrey ‘Dude’ Lebowski, a guy so laid back he’s horizontal but he gets a little antsy when some thieves mistake him for The Big Lebowski and piss on his rug (it really tied the room together). Best friend Walter Sobchak (John Goodman) is his bowling buddy, an uptight Nam vet with adoptive-Jewish issues in this hilarious offside take on director John Milius. Steve Buscemi is their sweet-natured friend Donny and John Turturro is the unforgettable sports foe, a hispanic gangsta paedo in a hairnet, Jesus Quintana. After the rug issue is handled, Dude is hired by his namesake (David Huddleston) a wheelchair-bound multimillionaire philanthropist, to exchange a ransom when his young trophy wife Bunny (Tara Reid) is kidnapped. Naturally Dude screws it up. There’s a band of nihilists led by Peter Stormare, some porn producers (Bunny makes flesh flicks), Lebowski’s randy artist daughter (Julianne Moore) and a private eye following everyone. And there’s Sam Elliott, narrating this tale of tumbleweed and laziness.  Everyone has their signature song in one of the great movie soundtracks and Dude has not only Creedence but White Russians to really mellow his day. Just like The Big Sleep, the plot really doesn’t matter a fig. This is inspired lunacy and I love it SO much.

True Romance (1993)

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How do you describe the 90s bastard child of Bonnie and Clyde and Badlands? Total cool. How easy is that to achieve in a movie? Well it helps to have a script by Tarantino. And to be directed by Tony Scott. And then there’s the beyond-belief cast:  Christian Slater. Patricia Arquette. Gary Oldman. Dennis Hopper.  Christopher Walken. Michael Rapaport.  Brad Pitt. James Gandolfini. Tom Sizemore. Chris Penn. And that’s just the start of it. It’s ridiculous! It Boy Slater is Clarence, the comic book-pop culture geek who falls for the pretty call girl Alabama and makes off with a huge coke haul belonging to her pimp and pisses off a lot of the wrong people. His dad Hopper does the astonishing Sicilian-nigger speech to Walken – and how stunning are all those jaw-dropping monologues, no wonder Tarantino is so beloved by actors. (Rolling Stone called his dialogue ‘gutter poetry.’) When the gangsters come calling the violence is sickening and yet the colour lends it an appropriately ripened comic book quality.  There’s a slamdunk shootout involving Hollywood jerks and practically everyone gets killed but Clarence’s very special mentor keeps him chill. Awesome.

Sideways (2004)

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Pinot’s a very thin-skinned grape, it doesn’t like light or humidity. Miles (Paul Giamatti) is a wine-loving high school English teacher and wannabe author whose best friend actor Jack (Thomas Haden Church) is getting married next Saturday:  road trip! To California wine country, where he can educate Jack in the mysteries of tasting. Two middle aged men on an emotional journey, one a depressive mourning his marriage, the other a past-it who can’t wait to get it up. Maya (Virginia Madsen) is the college professor’s wife waiting tables who has the best palate for wine of any woman Miles has ever met and Jack fancies her smartass friend and single mom Stephanie (Sandra Oh). There ensue some funny sexcapades (Jack), sad drunk dials (Miles), terror on the golf course and major education in oenology:  sometimes all it takes is the feel of a bunch of grapes in the hand to get the mojo going and a bottle of wine can bring anyone back to life. The marvellous Maya turns out to be the woman who coaxes Miles to his truest expression. Funny, louche, and humane with killer lines and tone-perfect performances from all concerned. Beautifully written, staged and shot, this is the comical male midlife response to Thelma and Louise, minus the violence and police. Mature, full-bodied and earthy, it simply gets better every year. From Rex Pickett’s unpublished novel, adapted by Jim Taylor and director Alexander Payne. Savour it.

LIFE (2015)

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Luke Davies’ screenplay centring on the circumstances behind the unforgettable LIFE photo essay about James Dean in an issue from March 1955 is uncertain about who the story’s protagonist is:   the most exciting actor most of us have ever seen, as incarnated by Dane DeHaan, or photographer Dennis Stock (Robert Pattinson)? Peculiarly it is Stock who comes across as pathological, unhappy and desperate whereas Dean seems a decent sort being screwed around by Jack Warner (Ben Kingsley) who knows he’s on to something great but wants to control this rebel from bad PR. Stock supposedly met Dean at a party at Nick Ray’s when he was casting Rebel Without a Cause and the distractions are looking at an actress who looks nothing like Natalie Wood and an epicene man who only bares a slight resemblance to Ray, along with the overriding story arc of Stock’s failed teenage marriage and his unwillingness to spend time with a very young son. Dean’s relationship with Pier Angeli is artfully used to construct the parameters of his Hollywood life;  while the trip the two men make back to Indiana before the premiere of East of Eden which commences in NYC’s Times Square is of course the setting for one of most people’s favourite poster, latterly called The Boulevard of Broken Dreams. The real story here is about the relationship between a photographer and his subject, whom he virtually stalked for the story, perhaps sensing something in Dean that Dean did not yet suspect was within himself. It’s nicely put together and shot, as you would expect from Anton Corbijn, a man who knows something about the craft behind creating iconic images – his rock career is probably the most notable of any photographer/video director of the last thirty years. But somehow even De Haan’s uncanny interpretation is not the favoured performance here and the ghastly Pattinson gets equal screen time in some sort of deluded payoff to the director’s former job. I don’t get it. How’d that happen?! There seems to be some kind of queer subtext that isn’t quite brought to the surface – despite the rumours about Dean, it’s Stock who appears to be unhealthily obsessive and projecting something that isn’t really there.  It makes you wonder about all those people who made money off their Jimmy stories when he was no longer around. Oh well, better to be talked about … than not. An opportunity mostly missed, sadly.

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The Postman Always Rings Twice (1981)

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It behoves us on Jack Nicholson’s 80th birthday to celebrate one of his most scorching performances in a totally filthy film. In this remake of the James M. Cain novel, he’s the drifter who fetches up at a diner in the middle of nowhere and becomes embroiled in a sordid romance with the proprietor’s wife (Jessica Lange) who wants him to kill her husband (John Colicos). Director Bob Rafelson was one of those people who played an enormous role in Nicholson’s career. Nicholson wrote the screenplay for Head, the movie about The Monkees, the band Rafelson created for a TV comedy show and then they became almost as big as The Beatles. He produced Easy Rider which gave Nicholson the keys to the kingdom, pretty much. Then he directed him in Five Easy Pieces and The King of Marvin Gardens, where he gave two of his great performances. They would reunite a decade after this for Man Trouble but this adaptation by David Mamet (making his debut as screenwriter) really hit buttons on release – I didn’t see it because I was way too young but I remember the fuss – and the trailers – and the poster!. The kitchen sex scene is one of the most jaw dropping couplings you will ever see this side of a porno and both Nicholson and Lange are simply astonishing in this tale of utter amorality. Some people don’t like the ending, but hey, you can’t always get what you want. This is some birthday celebration, eh?! Golly!

The Two Jakes (1990)

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We’re approaching Jack Nicholson’s landmark 80th birthday and he’s not very far from our minds anyhow, is he? Nobody dislikes this guy, a Seventies superstar whose offscreen life never threatened his essential abilities to act better than most anyone else. Two Jakes is the continuing story of Jake Gittes whom Nicholson inhabited so memorably in the classic Chinatown, a mythos of Los Angeles created by Robert Towne as part homage, part interrogation of that great city and its wobbly foundations. Now it’s post-WW2 and Gittes is hired by another Jake, Berman (Harvey Keitel) to do a routine matrimonial job. Gittes leads Berman to his wife’s lover, whom he murders. He’s Berman’s business partner. We return to the world of deceit and conspiracy that characterises film noir, albeit we are in living colour with a fabulously feline Madeleine Stowe as a very fatale femme.  It isn’t always a success and while the voiceover narration is true to the style it’s not always satisfying in a plot which might have been tightened a tad had screenwriter Robert Towne been around to finish it, an issue that caused trouble for Nicholson, who directed this outing. However there’s a lot to savour – it looks amazing and there’s a flavoursome soundtrack by Van Dyke Parks. It makes me wish we could finally have the last part of Towne’s projected LA trilogy. For more on this see my book about Robert Towne:  https://www.amazon.co.uk/ChinaTowne-Elaine-Lennon-ebook/dp/B01KCL3YXQ/ref=sr_1_2?s=books&ie=UTF8&qid=1492610518&sr=1-2&keywords=elaine+lennon

Valley of Love (2015)

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Les stars du film anciennement mariées Isabelle (Isabelle Huppert) et Gerard (Gérard Depardieu) se retrouvent dans la vallée de la mort pour honorer le souhait de leur fils Michael qui s’est suicidé là-bas après avoir passé une semaine dans le parc national. Il a coupé le contact avec eux (mais surtout avec elle) à l’âge de 16 ans. Il a écrit des lettres à ses deux, expliquant qu’il veut qu’ils passent une semaine là-bas et il leur apparaîtra à la conclusion. Ils ratissent les charbons de leur situation actuelle, leur relation échouée avec lui et révèlent peu à peu des informations sur eux-mêmes (son mariage défaillant, sa santé défaillante) alors que autour de lui, l’Amérique se révèle dans des moments absurdes et même surréalistes: l’apparition du tennis est un ressortir. Leur culpabilité et leur horreur à ce que leur enfant a fait se manifeste différemment contre un paysage splendidement tourné qui aurait pu être utilisé pour un meilleur avantage. Ils sont engloutis par des marées d’émotion dans différentes scènes qui sont brillamment exécutées, alors qu’est-ce qui est nouveau? La musique de Charles Ives est habituée à un effet formidable dans ce voyage émotionnel étonnant de Christophe Offenstein dans des nuances de chaleur intolérable. Écrit et réalisé par Guillaume Nicloux. Huppert. Depardieu. Parfait.