100 Rifles (1969)

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Every time four Mexicans get together one of them makes himself a General.  In 1912 Sonora Mexico, Arizona lawman Lyedecker (Jim Brown) chases Yaqui Joe (Burt Reynolds), a half-Yaqui, half-white bank robber who has stolen $6,000. Both men are captured by the Mexican general Verdugo (Fernando Lamas). Lyedecker learns that Joe used the loot to buy 100 rifles for the Yaqui people, who are being repressed by the government and he regards them as his people. Lyedecker is not interested in Joe’s motive, and intends to recover the money and apprehend Joe to further his career. The two men escape a Mexican firing squad and flee to the hills, where they are joined by the bandito’s sidekick Sarita (Raquel Welch) a beautiful Indian revolutionary. Sarita has a vendetta against the soldiers, who murdered her father. The fugitives become allies. Leading the Yaqui against Verdugo’s forces, they ambush and derail the General’s train and overcome his soldiers in an extended firefight… My daddy was a Yaqui Indian and my mamma was from Alabama. Adapted from Robert MacLeod’s 1966 novel The Californio first by Clair Huffaker and then by director Tom (Will Penny) Gries, this spaghetti western occasioned a great meeting of male and female puchritude recently recalled by Welch:  “The first time I laid eyes on him, he came strolling across the tarmac towards the plane and, well, he had a walk that was unlike anything I’d ever seen before. He was somewhere between a jock and a cowboy, which was just about perfect. I was thinking he’s just the hottest thing. And I haven’t even seen his face!” She was of course referring to Reynolds, who walks away with the picture, macho, moustachioed, sardonically amused when he isn’t fighting, he just oozes charisma and carries the acting and physical duties with ease. Half of it I spent on whisky and women, the other half I wasted! Welch wasn’t happy on set as Brown stated: “[Burt Reynolds] was usually a stabilising influence [between the stars]… He’s a heck of a cat. He had various talks with Raquel and tried to assure her that nothing was going on, that we weren’t trying to steal anything.” I admire a man who dies well  Reynolds himself wrote of the experience:  “I was playing Yaqui Joe, supposedly an Indian with a moustache. Raquel had a Spanish accent that sounded like a cross between Carmen Miranda and Zasu Pitts. Jimmy Brown was afraid of only two things in the entire world: one was heights, the other was horses. And he was on a horse fighting me on a cliff. It just didn’t work… I play a half breed but… I send it up, I make it seem like the other ‘half’ of the guy is from Alabama. I play it nasty, dirty, funky. I look like a Christmas tree — wrist bands, arm bands. At the beginning I even wore these funky spurs. But every time I walked I couldn’t hear dialogue.” He said of the problems with Welch and Brown:  “I spent the entire time refereeing fights between Jim Brown and Raquel Welch…  It started because they were kind of attracted to each other. After a while they both displayed a little temperament, but don’t forget we were out in the middle of the bloody desert with the temperature at 110. Of course, I don’t think they’ll ever work together again. The critics have really been knocking those two — murdering them — but as far as I know no one ever said they were Lunt and Fontanne. Jim is the most honest man I know… And Raquel — one of the gutsiest broads I know, physically. She did all her own stunts. There’s also a performance in there somewhere.”  He and Brown make a great, funny double act. Weirdly, they were born just 6 days apart and of course Brown had the football career Reynolds had dreamed of having. Welch said later: “Jim was very forceful and I am feisty. I was a little uncomfortable with too much male aggression. But — it turned out to be great exploitation for the film, now as you look back. It broke new ground.” She told Variety Reynolds was  “one of my favorites. Nobody did — or does — quite what Burt does. And he has a darker edge, which made the scenes sexy.” It’s beautifully shot by Cecilio Paniagua and Jerry Goldsmith’s score is rousing, compensating for some deficiencies in the action choreography. Lamas is fun as Verdugo and Dan O’Herlihy offers typically good support as villain Grimes with Hans Gudegast (aka Eric Braeden) as the German advisor to Verdugo. Some might see elements of The Wild Bunch and even Blazing Saddles;  one way or another it’s underrated. Cult value lies in the presence of Soledad Miranda as the prostitute with Joe in the opening scenes at the hotel. She is best known for her collaborations with Jess Franco, particularly Vampyros Lesbos. She died aged 27 a year after this was released. I think with a little bit of luck we might be able to get out of this

 

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All the Money in the World (2017)

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I’m telling you this, so you could understand the things you’re about to see, and maybe you can forgive us. It’s like we’re from another planet, where the force of gravity is so strong it bends the light. We look like you, but we’re not like you.  When 16-year-old John Paul Getty III (Charlie Plummer) is kidnapped on the streets of Rome in 1973 his devoted mother Gail (Michelle Williams) who’s divorced from the boy’s father John Paul Getty II (Andrew Buchan) tries to convince his billionaire grandfather, the world’s wealthiest man, oil billionaire John Paul Getty (Christopher Plummer) to pay the ransom. When Getty Sr. refuses, Gail attempts to sway him as her son’s captors become increasingly volatile and brutal:  she is telephoned regularly by one of his kidnappers, Cinquanta (Romain Duris) who has an unlikely frenemy relationship with Paul in his rural hideout. With her son’s life in the balance, Gail and Getty’s security advisor Fletcher Chase (Mark Wahlberg) become allies in the race against time as he misjudges the scenario and she relentlessly pursues Old Getty for the money to save her son’s life. When the kidnappers tire of waiting for their ransom they hack off they boy’s ear and mail it to a newspaper and she takes decisive action …  I’m, uh, building a house in California. An exact replica of my imperial villa in Rome, down to the very last detail. But with flush toilets. Yes, the mountain may not have come to Muhammad, but it sure as hell came to me. The true story of John Paul Getty III’s horrific kidnapping has elements of surprise even though it’s a famous crime:  adapted from the 1995 John Pearson book Painfully Rich: The Outrageous Fortunes and Misfortunes of the Heirs of J Paul Getty, screenwriter David Scarpa gives us the contours of unimaginable wealth, alienation and inhumanity, tailored in an efficiently-staged thriller which turns into a family melodrama with a child’s life at stake as his body starts to be dismembered and sent in the mail while Grandpa simply refuses to play the Mafia’s game because it doesn’t represent a decent tax dodge. You see everything has a price. The great struggle in life is coming to terms with what that price is. The action sequences are unexpected and stealthy – the kidnapping is swift and effective, as unnoticeable as a transaction with a whore on the Via Veneto. The concluding sequence when Paul runs for his life while the mobsters realise the police are on their tail and then they look for him to kill him takes place in a small mountain town at night and the simultaneous pursuit by Gail and Chase is nail biting – the villagers refuse to help them or Paul. Corruption is rife in Calabria and is treated as normal. When a man gets wealthy, he has to deal with the problems of freedom. All the choices he could possibly want. An abyss opens up. Well, I watched that abyss. I watched it ruin men, marriages, but most of all, it ruins the children.  At the heart of the story is Gail Getty’s relentless quest to find the money to free her son:  her trip to a museum to try to trade a valuable gift from Old Getty to Paul is heartbreaking – it’s a worthless trinket you can buy for 5 bucks in the shop and he told the kid it was worth $1.2 million. This is such a dreadful betrayal  of Getty’s favourite grandson and heir. Her mission to con the guy to come up with the goods takes guts and glory and Chase’s loyalty to his employer ultimately shifts as Gail starts to think like Getty. Williams is splendid as the woman who has to see her drug-addled ex-husband across the negotiating table, with his father making full custody of the children a condition of the ransom being paid. (If anyone ever believed that JP Getty II and Talitha’s Moroccan junkie monsters were the epitome of style they should watch this). If you can count your money you’re not a billionaire. Christopher Plummer as the guileless bully who believes he’s the reincarnation of Emperor Hadrian bestrides the persona of the family patriarch who just happens to be the wealthiest man in history. His final journey into night as he grips a great work of art in his jaw-dropping collection shows us a man who just needed a mother in his life – how ironic it turns out to be his daughter-in-law, a tigress for her son. Ridley Scott just made another feminist fable. Isn’t that great? There’s a highly innovative choral score by Daniel Pemberton, while Dariusz Wolski’s cinematography is simply breathtaking.  There’s a purity to beautiful things that I’ve never been able to find in another human being

Broken Arrow (1996)

Broken Arrow 1996

Would you mind not shooting at the thermonuclear weapon? US Air Force pilots Vic Deakins (John Travolta) and Riley Hale (Christian Slater) are sent on an overnight top-secret mission with two nuclear weapons aboard their aircraft. But, after they are in the air, Deakins changes the plan. He attempts to kill Hale and then steals the weapons with the intent of selling them to terrorists led by financier Pritchett (Bob Gunton). However, Hale survives the crash and meets up with park ranger Terry Carmichael (Samantha Mathis) who initially misreads the situation and tries to arrest him. Together they try to thwart Deakins’ plan as Government man Giles Prentice (Frank Whaley) and Colonel Max Wilkins (Delroy Lindo) try to uncover what is going on in the desert – while a murderously ruthless chase ensues… John Woo’s second American film tones down his trademark stylistic elements but it has non-stop action, great effects, some terrific explosions and would have been improved by introducing some complexity into the screenplay, by Graham Yost, which mostly sets up sequence after sequence of shoot-em-ups, blow-em-ups and kill-em-ups in beautiful desert locations shot by Peter Levy, finishing with a face off between these terribly charismatic co-stars in a symphony of action that takes place on trains, boats, planes, helicopters and Hummers. It all culminates in a fiery conflagration and Travolta literally burns up the screen.  There’s no difference between you and a guy who shoots up a schoolyard.  You’ve both got a head full of bad wiring

Queen of the Desert (2015)

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Who knows best about tribes? In 1902 Gertrude Bell Nicole Kidman the daughter of wealthy British parents and a recent Oxford graduate. has no interest in the social life of the London elite. Balls, receptions, and a life of privilege bring her only boredom. At one dance a potential suitor actually suggests fornication and alludes to her similarity to his prize herd. Aspiring to some usefulness in her life, Gertrude decides to join her uncle who occupies a high diplomatic position in Tehran. There the young lady not only encounters the Near East but also falls in love with an embassy employee, Henry Cadogan (James Franco) who adores her for her perspicacity and teaches her Farsi. However, their romance does not last long as her parents consider the young man a poor matrimonial choice for their daughter and forbid the marriage. Desperate, Henry commits suicide, failing to reconcile himself to the enforced separation. Gertrude finds out in a letter home following her mother’s death. For the remainder of her long life Gertrude Bell completely devotes herself to exploring and writing about the Near East in the wake of his death. She encounters T.E. Lawrence (Robert Pattinson) on an archaeological expedition and turns down a request to become a spy for the British Government. She visits her beloved Bedouin tribes over the Arab lands and earns their trust. Upon going to Damascus she encounters Major Charles Doughty-Wylie (Damian Lewis) and he confesses his passion for her but he’s married. She is kidnapped by an emir who wants to marry her – she could be his mother.  And when she returns to Syria, she finds World War One has spread … I would give my life for a woman like you.  This extraordinary story, of a pioneering woman traveller, writer, archaeologist and (eventually) a politician whose views shaped the delineation of the borders in the Middle East, following the implosion of the Ottoman Empire, gets a romantic biographical treatment. Kidman brings tremendous feeling to a woman of singular self-possession whose life nonetheless is shaped by the contours of love and death. It’s a rather conventional form for Werner Herzog who wrote and directed it, but there are scenes which communicate seemingly directly with nature, music by Klaus Badelt and Mark Yeager which feeds from desert song.  It’s not the mad epic you think you might get – it’s from Bell’s own writings and from history and it’s a swooning and beautiful interpretation of a woman alone among military men who seem to suffer intolerable repression. For the first time in my life I know who I am.  My heart belongs to the desert

Raising Arizona (1987)

Raising Arizona

Ed felt that having a critter was the next logical step.  When incompetent convenience store robber  H.I. ‘Hi’ McDonough (Nicolas Cage) marries policewoman Edwina ‘Ed’ (Holly Hunter) after she takes his mugshots, they discover that she is infertile. In order to appease Ed’s obsessive desire for a child,  Hi steals one of a set of quintuplets born to Nathan Arizona (Trey Wilson), mega rich owner of a chain of furniture stores. Mayhem ensues when his former cellmates, brothers Gale and Evelle Snoats (John Goodman and  William Forsythe) break out and turn up on their doorstep and the child’s rich father sends a rabbit-shooting bounty hunter biker – the Lone Biker of the Apocalypse – after the kidnappers…  Everything’s chAAAnged! With hysterical overacting turns, a set piece chase to rival the best of them – all over a packet of diapers – an incredible prison break, and a winning set of adorable blond babies, this sophomore outing by the Coen Brothers divided critics after their dark-hearted debut, Blood Simple. It fizzes with photographic flourishes, nonsensical action and witty lines, with hyper-exaggerated enunciation (take a bow, Ms Hunter!) and dog-tired impersonation (by Cage) of a desperate father belatedly realising when there’s a new baby in the house that life will truly never be the same again. The meal-time pelting by his in-laws’ children crystallises his hapless sorrow.  With bravura cinematography by Barry Sonnenfeld, a yodel-along score by Carter Burwell and sparky performances by the entire cast, this is highly charged, effervescent and exuberant, practically exhorting the audience to dislike it as it races over the top and into the fantastical abyss in order to emerge with glee. Y’all without sin can cast the first stone

Knight of Cups (2015)

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For optimal sound reproduction the producers of this film recommend that you play it loud. Screenwriter Rick (Christian Bale) tries to make sense of life in Hollywood. We follow him on an odyssey through Los Angeles and Las Vegas as he undertakes a series of adventures with colorful figures, identified by eight tarot cards, with Rick as the Knight of Cups who sleeps with a half dozen women, leaves his own wife and impregnates another man’s…  Or as I like to call it, another episode in an occasional series known as When Good Auteurs Go Bad. See also:  Phantom Thread. Terrence Malick disappeared up his own fundament a while back:  if anyone thought To the Wonder was anything other than nonsense then they never saw real art house films.  This latest version of Hollywood Eats Itself functions as allegory:  of what, we don’t know, because it’s unnecessary.  All those years of living the life of someone I didn’t even know These movies have been around almost as long as Hollywood itself – but this is the experimental version. Cate Blanchett is Judgment, Natalie Portman is Death, Antonio Banderas is the Hermit, Brian Dennehy is the Hanged Man, and oh, for goodness’ sake, it looks wonderful. There are situations that almost approach coherence, particularly in the (only developed?) scenes with Portman;  an excursion to that simulacrum of plasticity in the desert, Vegas, in the company of a stripper; and the apartment burglary when the thieves bemoan Rick’s lack of possessions. Rick is haunted by the death of his brother Barry (Wes Bentley) who brings him on a tour of LA’s homeless. There are some insights amid the dissociative witterings and fragmentary musings and overheard bites of conversation inspired by The Pilgrim’s Progess but for the most part you won’t believe your ears as Christian’s character thinks he’s Christ wandering through his midlife crisis. Pity the actors, who had no script. Peter Mathiessen tells Rick that a man living in a cave eating nettles doesn’t concern himself with this sort of thing. Those desert monks had a point. This was in an edit suite for two years. After a cold compress go watch Sunset Blvd. Or 8 1/2. Whatever happened to visionary filmmaker Terrence Malick? We are too media-savvy not to understand the metaphors. We know that not all narratives are ordered or complete. But it’s a filmmaker’s job to get us at least some of the way there. And why squander the talents of these marvellous actors?  Presumably their best work wound up on the cutting room floor, as is Malick’s wont. Just to, you know, show them. As Forster would counsel, Only connect.  Woulda coulda shoulda. Begin

 

Lean On Pete (2017)

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You don’t get attached to horses. Don’t treat them as pets.  Horses are for racing, nothing else.  Teenager Charley Thompson (Charlie Plummer)and his father Ray (Travis Kimmel) wander the Pacific Northwest as Ray goes from job to job. Charley wants stability in his life and when he encounters horse trainer Del (Steve Buscemi) and his race horse Lean On Pete he finds a new purpose in life. But reality intervenes when his father is beaten up by his lover’s irate husband and is seriously ill in hospital. Charley secrets lives at Del’s stables but when Lean On Pete is injured and Del wants to sell him, Charley makes a decision … Andrew Haigh’s first American film is adapted from country musician and novelist Willy Vlautin’s fine book. It’s a simple story of people’s circumstances and a chance event that turns everything around – for a while. Beautifully constructed and performed, with Plummer making such a great impression in his nuanced interpretation of a boy just looking for a decent home, a good friend, a life.  You can draw your own metaphors from the issue of the ‘stable’ that offers Charley this opportunity – and the inevitable sorrow that follows.  The desert scenes are all big sky and lonesomeness. His behaviour as he confronts his homelessness on city streets is a byword for silent communication:  how he carries himself tells us so much. There is a marvellous soundtrack, with one song by Richmond Fontaine, Vlautin’s band,  and there are good supporting roles for Chloe Sevigny and Steve Zahn. A very rewarding and affecting watch.

Beneath the Planet of the Apes (1970)

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Mr. Taylor, Mr. Brent, we are a peaceful people. We don’t kill our enemies. We get our enemies to kill each other.  It’s 3955. The sole survivor of an interplanetary rescue mission astronaut Brent (James Franciscus) has been sent to find missing colleague Taylor (Charlton Heston).  He discovers not only a world of intelligent, talking apes, but an underground cult of grotesque telepathic mutant humans who are the survivors of a nuclear blast years ago. and in thrall to a nuclear bomb. It takes Brent a while to figure out that he’s actually landed on Earth in the future and the apes plan to annihilate the planet. Will Brent escape before the apes sniff them out? … The first sequel to the great Pierre Boulle adaptation starts where the last one left off – with Taylor (Charlton Heston) bemoaning his fate. Then we’re parachuted into the rescue attempt, as it were. Adapted by Paul Dehn (and Mort Abrahams) from the last film’s characters, this has little action and brings in the matter of religion – those pesky mind readers worship the A-bomb. There are some striking things here but the comic book tone lowers the intellectual heft of the original’s ambition. It’s good for the film that Heston returns to top and tail the story but Franciscus is no match for him and the script doesn’t give him a lot anyhow. It’s nice to have Zira, Dr Zaius (kinda!) and Nova back. Even blacklisted Jeff Corey gets into an ape costume. No matter that they just speed up the original plot it’s not a patch on it and the best thing about it is the avant garde score by the brilliant Leonard Rosenman. We adore him here at Mondo Movies! Directed by Ted Post. If they catch you speaking they will dissect you and they will kill you – in that order! 

Psycho 3 (1986)

Psycho 3

She can’t help it. She can’t help the things she does. She’s just an old lady. A nun commits suicide at a convent. Her disturbed colleague Maureen Coyle (Diana Scarwid) runs away and hitches a ride through the desert with Duane Duke (Jeff Fahey) but after he makes a move on her during a rainstorm she runs off.  When she arrives at a small town diner she asks where she might stay.  Norman Bates (Anthony Perkins) is once again operating his infamous motel. Assisted by the shifty Duke, an excessively tan Norman keeps up the semblance of being sane and ordinary, but he still holds on to some macabre habits. Eventually, Norman becomes interested in Maureen when she turns up at the motel and reminds him of Marion Crane. As Norman and Maureen begin a relationship, can he keep his demons in check? And now there’s a reporter Tracy Venable (Roberta Maxwell) on the prowl keen for a scoop on the legendary mother killer with a revelation about the identity of Emma Spool (from Psycho II) … This was Anthony Perkins’ directing debut, revisiting very familiar territory with plenty of Hitchcock’s signature tropes albeit none of his style and an excess of grisly if blackly comic violence.  The rarefied Scarwid is a good choice for the Marion lookalike and the film is filled with ideas of Hitchcock’s trumpeted Catholicism as well as opening with an homage to Vertigo and incorporating a scene out of Psycho. It’s quite amusing to have Norman portrayed as the Mother of God saving the troubled nun who’s as with it as her romantic interest but this is as subtle as a sledgehammer and won’t make you forget the original any time soon. There’s even something of a happy ending – relatively speaking. Written by Charles Edward Pogue, this is not connected with Robert Bloch’s third novel in the series, Psycho House.

2001: A Space Odyssey (1968)

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I know I’ve made some very poor decisions recently, but I can give you my complete assurance that my work will be back to normal. I’ve still got the greatest enthusiasm and confidence in the mission. And I want to help you.  An imposing black structure provides a connection between the past and the future. When Dr. Dave Bowman (Keir Dullea) and other astronauts are sent on a mysterious mission to investigate an object hidden beneath the lunar surface their ship’s computer system, HAL, begins to display increasingly strange behavior, leading up to a tense showdown between man and machine that results in a mind-bending trek through space and time… One of the great auteur works that has the courage to make an intellectual (and visual) leap that would elude lesser writers and filmmakers. Stanley Kubrick’s interpretation of Arthur C. Clarke’s story The Sentinel (they wrote the novel and screenplay simultaneously in their unique collaboration) has not lost its oddly intimate power and remains the benchmark for everything that followed in science fiction with its take on evolution and man’s relationship to the universe.  The Star Gate sequence, zero gravity scenes and visual effects are transcendent. Kubrick abandoned Alex North’s commissioned score for the existing recordings of classical music which he had used for the guide track. A film of utter audacity.