Rough Night (2017)

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Like I said to Rob Lowe – there’s no body, there’s no case.  Jess (Scarlett Johansson) is a politician campaigning for a seat who has just got engaged to Peter (Paul W. Downs) and reluctantly reunites with three of her college friends for a wild bachelorette weekend in Miami 10 years after graduation.  She’s urged on by former best friend Alice (Jillian Bell) an unhappy fat and married mother whom she’s been steadfastly avoiding.  They are joined by Frankie (Ilana Glazer) and Blair (Zoë Kravitz) and then by Jess’ Aussie friend Pippa (Kate McKinnon) whom Alice repeatedly insults. The night of hard partying soon takes a dark turn when a male stripper (Ryan Cooper) accidentally dies at their beach house after Alice jumps on him. Amid the craziness of trying to cover it up, the women ultimately find themselves becoming closer when it matters most only to discover when the real stripper arrives that the guy they killed has just been involved in a major jewel robbery. They knock out the second guy. Then when the first stripper’s friends turn up the real fun begins – especially since Jess’ fiancé has embarked on a road trip to rescue what he believes is a failed relationship … The Hangover. Not. A truly execrable waste of talent that proves women can make movies just as bad as men when they’re behaving badly including the foul-mouthed rap soundtrack that appears to be de rigeur for such raucous outings. You might enjoy seeing Demi Moore on her knees before Kravitz in a threesome with Ty Burrell but then again you have to remember these people a) read the script and b) got paid. Unlike the viewer. Miaow. Everyone here is better than this. Directed and written by Lucia Aniello who is a woman and co-written with Downs who is not. #MeToo. Not.

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Two-Lane Blacktop (1971)

Two Lane Blacktop

Color me gone! A mechanic (Dennis Wilson) and a driver (James Taylor) live only to race and maintain their grey 1955 Chevy. Heading east from California with no particular agenda, they give a girl (Laurie Bird) a ride, and en route she incites jealousy between the men by sleeping with them both. Meanwhile, the trio encounters an overbearing 1970 Pontiac GTO driver (Warren Oates) who makes up stories about his life and agrees to race them to New York, each side putting at stake their most prized possession: their car… Stunningly shot (by Gregory Sandor though credited to union member Jack Deerson), almost dialogue-free, this seminal road movie (when that term really meant something) is a showcase of cinematic poetry in motion exhibiting the performing talents of two of the most important music stars of the era. Taciturnity is their mojo as they engage in this eastern, a reversal of the traditional drift of men across the continent, living in the moment.  It helps if you’re a car freak but it’s not necessary. This is a study of a society without a point. Turn on. Tune in. Drop out. Directed by Monte Hellman from a screenplay by Rudy Wurlitzer (who plays a hot rod driver), Will Corry and uncredited contributions from Floyd Mutrux. Absolutely iconic.

The Freshman (1990)

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I had been in New York nineteen minutes and eleven seconds and I was already ruined. Kansas/Vermont/Montana boy Clark Kellogg (Matthew Broderick) is robbed moments after arriving in New York to study film at NYU. When he sees his mugger Victor (Bruno Kirby) through a window several days later during a meeting with his tutor Fleeber (Paul Benedict), he confronts him. Victor promises to return his property and get him a job with his uncle, Carmine Sabatini (Marlon Brando), who turns out to be a Mafia boss. Clark can’t help but notice his uncanny resemblance to The Godfather. His first job (for $500!) is to pick up a komodo dragon from a lot in New Jersey which escapes at a gas station when his roommate Steve (Frank Whaley) opens the car door to smoke. The dragon runs amok in a mall. When Clark tells his mom on the phone about his new job his environmental activist stepdad Dwight (Kenneth Welsh) overhears. Carmine has lined up his daughter Tina (Penelope Ann Miller) to marry Clark. As Clark continues his shady work for Carmine, he discovers an elaborate underworld that has caught the attention of the authorities. He’s chased by men from the Department of Justice who are particularly interested in the wildlife Carmine is importing and he’s persuaded to become an informer. As things come to a head, not everything is what it seems. The endangered species are being prepared for a deluxe meal at a gourmet club where Carmine fleeces the rich for millions … I was once asked at a dinner party what I thought of Bergman. I responded, Ingmar or Andrew? Because that’s the kind of all-round entertaining dinner guest I am! In truth I’ve always enjoyed Andrew Bergman’s movies – they never fail to engage or amuse and this is no different. In fact I’d forgotten just how hilarious this is. You ain’t seen nothing till you’ve seen Brando on ice skates. This is a genuinely funny spoof with lots of endearing performances and a couple of artfully chosen excerpts from a certain pair of classic Mafia movies serve as commentary on the narrative that pastiches them. And if you have ever taken a film studies class you will get a kick out of Benedict’s painfully apt role as the self-obsessed lecturer. Brando is quite brilliant parodying himself and Broderick even out-Ferrises himself in some scenes. Great fun.

Five Easy Pieces (1970)

Five Easy Pieces

The one with the chicken salad scene. Jack Nicholson was on the verge of becoming one of the most famous actors in the world with this portrait of alienation which just floored contemporary audiences. There had simply never been a character like Bobby ‘Eroica’ Dupea. He was the creature of writer Carole Eastman, writing under the nom de plume Adrien Joyce, albeit co-star Susan Anspach claimed that Nicholson made up stuff on the hoof and deserved credit. Bob Rafelson the director and co-writer was already a name from The Monkees but this was really a high point of New Hollywood – a departure and an arrival, with behavioural observation the strong point of a narrative that sees wildcatter Bobby shacked up with Tammy Wynette devotee waitress Rayette (Karen Black) and screwing around with his friend Elton (Billy ‘Green’ Bush). When he expresses his contempt for Elton (a ‘cracker asshole’) we get the first intimation that Bobby may not be like him: in fact he’s the estranged son of a family of gifted musicians and he himself is a former musical prodigy who has literally abandoned his talent. When Elton tells him Rayette is pregnant then Elton is arrested for robbing a gas station, Bobby takes off to LA to see his sister Partita (Lois Smith) a pianist who’s recording an album. She tells him their father is gravely ill. He takes off – regretfully – with a suicidal Rayette and leaves her at a motel while he broaches a difficult family reunion at Puget Sound including  violinist brother Carl Fidelio (Ralph Waite) whose pianist fiancee Catherine (Anspach) he beds. The final scene with his unresponsive father is hopelessly moving and the movie’s final shot when he hitches a ride on a truck away from a gas station and his car and his jacket and Rayette (who has turned up and embarrassed him en famille) … seems endless. Nicholson is allowed show all his colours here and it’s a transcendentally emotional and funny performance in a complex character study – the restaurant scene with the awful hitch hikers is a highlight, the wild sex with a pick-up another, and Nicholson’s tears are terrible to witness. He doesn’t know himself at all. This is a standout film from an era devoid of hope and this seems to encapsulate its anomie and capture it entirely. Luminously shot by Laszlo Kovacs, those burnished skies feel like the aspirations of a generation. Nicholson was officially a superstar.

Another Day in Paradise (1998)

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Another controversial work from auteur Larry Clark, this is a 1970s-set tale of junkies whose crime spree goes horribly wrong. Young Vincent Kartheiser (unrecognisable as Mad Men‘s weaselly Pete) carries out a disastrous vending machine robbery and girlfriend Natasha Gregson Wagner gets his mentor and friend James Woods to help fix up his injuries. Woods trains him in safe-cracking and they all go on the road with his girlfriend Melanie Griffiths and get embroiled in a series of terrible robberies which wind up with death and destruction all around them. Woods and Griffiths are re-teamed for the third time and work well in this febrile situation even if her wig sometimes outacts him. Kartheiser and Wagner do okay in this sordid story with full-frontal sex scenes but it’s the bizarre and uncredited (why?!) performance by Lou Diamond Phillips as a bejewelled feminised gay co-conspirator that fascinates. Adapted from Eddie Little’s novel (allegedly plagiarised by James Frey…) by Stephen Chin and Christopher B. Landon. A very alternative, nasty road movie. Not for all tastes, as they say.

Stakeout (1987)

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On a day on which the death of another Eighties icon has been announced, this time the gifted George Michael, it seemed appropriate to roll out a movie rather typical of the era. It starts with a violent prison incident when crazed murderer Richard ‘Stick’ Montgomery (Aidan Quinn) makes good his escape. Meanwhile, horndog cop buddies Chris (Richard Dreyfuss) and Bill (Emilio Estevez) get put on a stakeout of his ex Maria’s house for bad behaviour. Jim Kouf’s screenplay identifies the men pretty well as a bereft lovelorn middle ager and a besotted younger man, a relationship that offsets the violence that opens the story.and – inevitably – closes it. In between are office politics, slapstick, and a growing romance between Chris and the object of Stick’s affections, the beyond-beautiful Madeleine Stowe. A good mix of comedy, suspense, action and romance, well managed by director John Badham.

Werewolves on Wheels (1971)

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What on this good earth could possibly be better than a biker film – unless it’s a biker horror film?! Adam (Stephen Oliver) and his crew The Devil’s Advocates (nominative determinism or tempting fate?!) are tooling around as bikers do until he falls under the influence of One (Servern Darden) and his cult… Donna Anders, appearing here as DJ Anderson (confusingly, her real name!) , plays his girlfriend Helen, who doesn’t like the hand of Tarot cards she’s dealt at the story’s outset. When they come across One and his gang in the deconsecrated desert church their food is drugged, she turns into a werewolf and soon infects Adam. (Is this a feminist act?!) They flee but get picked off one by one and when Adam and Helen transform in front of the others, the gang kill them. A few of them return to the church to kill the satanists but they recognise themselves in the procession …Notable for its footage of real-life bikers doing what they usually do, this was co-written by director Michel Devesque with David M. Kaufman. Oliver was best known for playing Lee Webber in TV’s Peyton Place between 1966 and 1968 and appeared in a number of other biker outings:  Motorpsycho (1965), Angels from Hell (1968), and Cycle Psycho (1973). You’ll recognise other cast members from The Last Movie. Cinematographer Isidore Mankofsky earned his stripes shooting for Encyclopaedia Brittanica but after this he made Scream Blacula Scream and in the following years got credits on films as diverse as The Muppet Movie, Somewhere in Time (sigh!), The Jazz Singer, Better Off Dead and One Crazy Summer:  a versatile talent.  Likewise Levesque, who followed this with Sweet Sugar, another exploitation outing, but who also had an impressive career as an art director on such fare as Supervixens, Beneath the Valley of the Super-Vixens, Carquake and Foxes. There’s a notable psychedelic soundtrack provided by Don Gere. This is pretty good as biker werewolf movies go, which is to say, what more could you want from such a fabulously preposterous genre mashup?! If you’re hairy you belong on a motorbike! You read it here. PS cat lovers beware.