Change Your Image
elicopperman
With my imdb page, I'm here to rate as many films, shorts and shows as I can and create movie reviews to share my own opinions to all of you who choose to follow me, whether or not you agree with them. My point to express my thoughts on any given form of entertainment is not to say that my opinion is better than yours, because at the end of the day, it's not, it's just an opinion. My point is to mainly offer my own points of view and maybe even here some responses from anyone of you who reads my reviews. If there's one thing I can't stand, it's people who are so full of themselves that they'll become butthurt if someone disagrees with their own thoughts on something. All in all, I'm not some elitist who thinks so highly of himself, I'm just a random guy who loves the film & animation medium and wishes to maybe work in it someday. For now though, just writing reviews on specific films and shows will do just fine.
Also, don't think all my reviews will be the same in terms of length or even structure, as I'll mainly write however I'll feel as long as I give decent criticisms and praises of whatever I'm reviewing. Some may stick to one specific style, and most of my reviews do have a similar kind of structure admittedly, but some do vary in that department so I won't be too redundant. So with all that said, I invite you to relax and pull up your chair, as I fully present to all of you my reviews and ratings. Have fun loves and keep on trucking.
Ratings
Most Recently Rated
Lists
An error has ocurred. Please try againReviews
The Producers (1967)
The Film that Kickstarted Mel Brooks's Directorial Career
Although Mel Brooks is often regarded for his well crafted parody movies, his first foray in feature film direction was the 1967 satirical comedy The Producers, a farcical commentary on the seediness of show business rather than a farcical spoof. Although the film didn't attract much buzz back in its original release, it did win Brooks an Oscar for Best Original Screenplay and went on to achieve greater cult admiration in the years onward, down to getting a successful stage musical adaptation. So looking back on the film that launched Brooks' cinematic career, what makes it one of his most iconic today?
The film follows a con artist theater producer named Max Bialystock and his accountant Leo Bloom who devise a get rich quick scheme by fraudulently overselling interests in a deliberately disastrous stage musical. When they both find a script celebrating Adolf Hitler, they set out to bring it on stage. With this premise in mind, Brooks does not hold back in getting laughs out of the most repulsively wicked type of people, all the while allowing his two lead actors to carry the otherwise eccentric characters on their shoulders. While Bialystock and Bloom make a decently funny duo on paper, Zero Mostel and Gene Wilder perform together so seamlessly that their contrasting personalities elevate the humor in fluctuating flying colors. It's almost a riot witnessing Mostel overreact accordingly while Wilder brings such wacky hysterics to Leo's persona, and without them steering the ship by Brooks' side, the two giddily unorthodox crooks would not be as sympathetic as they appear to be on screen. I'm sure at least one viewer has actually wanted them to pull off their scheme.
Since Brooks was intent on attacking Hitler and the Nazis through the power of comedy, he manages to make them look incredibly foolish with Springtime for Hitler's players. In particular, Kenneth Mars is just delightful as playwright Franz Liebkind, whose pathetic devotion to the fuhrer makes him both a laughing stock and a reminder of how far gone some "true" followers are. In addition, Dick Shawn is a lot of fun playing the unearthly hippie actor L. S. D. Alongside Christopher Hewitt's flamboyantly theatrical performance as director Roger De Bris. Along with a decent cast of passionate performers, the men performing before your eyes manage to mock yet pay tribute to the campiness often associated with theatre production. Also, the old ladies that Bialystock seduces offer some fun variety to his cunning schemes in financing the play, all the while adding into the themes of just how sleazy these kinds of businessmen are. That said, perhaps the weakest link in the cast is Lee Meredith as Ulla, since she doesn't do much beyond the sultry toy her character was written as.
If there's one thing Brooks truly managed to pull off well in spite of their low budget, it's the actual musical performance of "Springtime for Hitler" within the movie itself. While the cast did a great job in making Nazis look silly, the actual production shown is marvelous from an artistic point of view, complete with strong dedication to the razzle dazzle seen on Broadway shows and Busby Berkeley numbers. Not only is Brooks' song named after the same play humorous in its slanderous lyrics, but the choreography and editing make it a delightful romp that makes one laugh at the entertainment while wondering how the filmmakers actually got away in executing such a daring number. In addition, John Morris's accompanying score adds into the fun with booming orchestrations that emphasize just how successful Max and Leo nearly get in their passionate scam. By putting on a deliberately bad show that manages to induce laughter more than it leaves people in bad taste, Brooks rightfully managed to mock his targets with the pure ridiculous meant for the material.
By mocking the sleaziness of devious producers and the lunacy in admirers of the powerfully wicked, The Producers may be one of Mel Brooks's funniest and most scathing movies of his entire career, partially thanks to its incredible leading cast and dedicated production design. Knowing how cathartic it must have been for Brooks to slander Hitler and his stooges with his artistic talent, anyone who adores this movie can see the magic on screen in flying camp and humorous vulgarity. Rarely has an offensive comedy aged so well, let alone one made by a Jewish comedian who found his calling in the media.
A Hick a Slick and a Chick (1948)
Don't Get Nosey, Junior
Director and animator Arthur Davis had a pretty good break making his own cartoons at the original Warner Bros animation department from the mid to late 1940s. While he had a pretty brief run as a director, he did make a lot of uniquely timed and bizarrely comical shorts that many Looney Tunes fans tend to to enjoy as cult favorites, such as What Makes Daffy Duck?, Two Gophers from Texas, Dough Ray-Meow and more. These shorts not only featured great rubbery animation from the likes of veterans such as Bill Melendez, Emery Hawkins, Don Williams and more, but also had some story content courtesy of writers Lloyd Turner and Bullwinkle co-creator Bill Scott, so even if not all of the shorts landed in the execution, there was still enough distinctive entertainment value to gain from them.
Now with all of that said, the following short A Hick, a Slick and a Chick was actually deemed by Davis as his personal favorite cartoon that he directed. The basic premise is that a country bumpkin mouse named Elmo fights for the affection of his love interest Daisy Lou over a more slick city mouse named Blackie. This type of formula has been done before in cartoons before, especially with most of the Popeye shorts around this time, and admittedly I'm not a fan of these stories all that much. It's never made clear if Daisy Lou is Elmo's actual romantic partner or just someone he knows that he wants to win over, but either way, she's made far too shallow of a character to really feel like she's worth Elmo risking his hind over her. Also, Blackie is an even lamer character with a flat personality beyond his basic superior tropes, and as talented as Mel Blanc always is, the voice he gives the slick does not match his design at all. If anything, this short can be a hard time to stomach at times when it makes me feel more sorry for Elmo getting humiliated by Blackie's more sophisticated yet condescending presence.
However, the one saving grace of this cartoon that does keep it from becoming stale is when Elmo tries to get a genuine Ermine coat for Daisy Lou. One drunken mishap later and the goofy hick mouse unintentionally ends up getting chased by a house cat coincidentally named Herman. In addition to Stan Freberg's hysterical vocal delivery as Elmo, both sober and plastered, the sequence is elevated by the loose flowing staging and character animation, along with Carl Stalling's recurring rendition of Rural Rhythm that adds into the playful energy of the short. Also, if Blackie was a thoroughly boring character, at least Elmo winning Daisy Lou over with his alternative coat does make for a charming conclusion. Lastly, without giving it away, the final shot of the cartoon is simply hilarious as both a means to take out Blackie and show what actually happened to Herman, along with one of the most creative iris out shots in the OG Looney Tunes / Merrie Melodies filmography.
So yeah, I wouldn't call this one a favorite of mine by any means, Looney Tunes or Art Davis related, but A Hick, a Slick and a Chick still has just enough amusing moments in it to warrant some enjoyment from it overall. Davis definitely made better shorts than this, but it's always good to see him and his team take their own spin on a cliched cartoon formula that would soon overstay its welcome. Now that a lot of the Looney Tunes cartoons that were taken off Max are back up again, this once included, give 'er a go and have some fun.
Speak No Evil (2024)
Solid Psychological Familial Thrill Ride
As of this month, Blumhouse Productions has released a psychological horror film called Speak No Evil, an American remake of the 2022 Danish feature of the same name. Having been out in theaters for a little more than a week as of now, the film has done relatively ok financially and garnered mostly positive reviews, with some speculation that it could be one of the better American remakes of an international horror film. So having seen the movie for what it is and not having seen the original yet, there's a lot to be fascinated with in terms of a narrative relating the dangers of child abduction.
The film follows an American family who meet a seemingly friendly British who invite them to their remote farmhouse for a weekend, only for the family to soon discover a dark secret about the couple and their son. At its core, Speak No Evil feels much more like a mature familial drama than a full blown horror film, as it mostly keeps the focus of Louise and Ben Dalton's struggling marriage on its fingertips throughout most of the first half. Even once the British couple of Paddy and Ciara come into the picture, one can tell that they could not be what their friendly presence says otherwise, although James McAvoy and Aisling Franciosi do so well at their jobs that it's hard not to get attached to them. However, their son Ant is the most strange one at first due to his vocal disability limiting his genuine pain, and Dan Hough manages to convey a lot of personal pain and anger with his mere actions and inner screams for help to such a sympathetic degree. As friendly and well intentioned as Paddy and Ciara seem, their overall presence is handled with proper nuance and subtlety.
As for the actual horror at play, the cinematography is decent but nothing truly special beyond mere lighting and shadows, although Tim Maurice-Jones does bring a sense of claustrophobic intensity with the naturally dark look inside the already cluttered yet quaint farmhouse. In addition, the tone allows for the seemingly innocent nature of Paddy and Ciara's land to contrast with Louise and Ben's more jaded yet concerned personalities, and both Scoot McNairy and Mackenzie Davis add into both their character's marital tensions and the life threatening circumstances they get themselves into. It's remarkable to see two relatable figures engage with a mysteriously intriguing couple that are not all they appear to be. The lack of music throughout a lot of the film also plays up the thrills quite well in allowing us to view the film on edge and thus making sequences with actual musical accompaniment all the more frightening. With such sensitive material at play here, writer / director James Watkins managed to balance the serene and the terror effectively along with the cast and crew.
Now while I am yet to see the original Danish film, I must address the remake's most infamous change, which is the ending being a complete contrast to the original film's own conclusion. Without spoiling anything important, let's just say that any cynical film snob can easily figure out what happens in the original vs the American remake. Considering the original film's director, Christian Tafdrup, went on record to speak ill will of this change and how contradictory it is from his version, it is quite easy to see how this feature could have ended with a less mainstream intention in mind. Having said that, the film's main premise and internal secret is so devastating and horrific from a realistic point of view that a more satisfying conclusion isn't that far fetched, especially for audience members who can't handle seeing one family get their lives destroyed by another, no matter how complicated they may be. When witnessing manipulative sociopaths disguised as neighborly folks, anyone witnessing a movie like this and its predecessor is more than obligated to feel however they want.
Regardless of either version you prefer to check out, Speak No Evil has the right type of psychological horror content moviegoers enjoy seeking out and is elected by its careful direction, strong cast and menacing tone. If you're looking for a solid suspenseful flick about the contrasting relationship between two different couples of different backgrounds, then this is just the type of feature worth checking out in the month of September. With James McAvoy portraying the lead threat in the feature, you certainly can't go wrong here, especially now that the fall season has finally begun.
Beverly Hills Cop III (1994)
Unenthusiastic Foley Outing this Time Around
In 1994, a third Beverly Hills Cop movie was released with Eddie Murphy back as Axel Foley, albeit with less energy than beforehand. Despite doing moderately ok at the box office, the film received universally negative reviews and has often been regarded as the worst film in the franchise, especially to Murphy himself. On top of Murphy allegedly being reluctant to make the movie, the film ended up being far too expensive during production and even producers Jerry Bruckheimer and Don Simpson were absent this time around. So what truly makes this the weakest installment in Axel Foley's filmography?
After Foley's boss is murdered by the leader of counterfeiters, the Detroit based detective goes back to Beverly Hills to stop the gang at a local amusement park called Wonder World. Now the premise of Axel Foley attempting to stop the criminals at a theme park practically writes itself, and the film makes the most of the setting's lavish sets in terms of scope and style. Unfortunately, the key ingredient that's severely lacking in this trequel is witty comedy and exciting action, and any potential for Axel Foley to run all wild in Wonder World is squandered with sluggish pacing and too much emphasis on the investigation. In addition, Axel is surprisingly lacking in his famed wisecracks and is too mature to stoic along with, and even Judge Reinhold plays up Billy Rosewood with far too much goofiness to take seriously. Hector Elizondo doesn't contribute much as a replacement for Taggart, but his routine schtick works ok here enough. It's a sad day when the cameos from filmmakers like George Lucas, Joe Dante and Ray Harryhausen are far funnier than Murphy in the whole feature.
As far as the actual comedy is concerned, director John Landis's wacky humor sensibilities are embarrassingly out of place, as they don't fit the more grounded world of Beverly Hills Cop's criminal escapades. Even the action feels rather unengaging and has little variety beyond basic brawls, tired explosions and unexciting set piece maneuvers. Outside of one genuinely intense scene involving Axel rescuing two kids holding onto a broken ride for dear life, it feels genuinely lame that the director of The Blues Brothers couldn't elicit much excitement from the action department. The criminal story is too thin and confusing to follow, but where the action in the second feature was engaging enough to ignore that flaw, there is so little momentum to gain that even Timothy Carhart's hammily slimy portrayal as the main villain can't bring much to write about. At least the soundtrack remains fun to listen to from time to time, but Niles Rodgers' score doesn't have the same eccentric flair as Harold Faltermeyer's timeless 80s throwbacks this time around.
Despite having the right footnotes for a seemingly exciting trequel, Beverly Hills Cop III is a disappointingly underwhelming installment due to uninspired action, Eddie Murphy's lethargic presence and little advantage taken of the admittedly well crafted production design. Unless you're in the mood to complete all of the criteria for the Beverly Hills Cop franchise, I cannot recommend this feature at all as it could easily inspire ennui to an audience as opposed to excitement. With all that's been said about Murphy and other's thoughts on this terribly mediocre outing, the spirits seemed to just be too low here.
Beverly Hills Cop II (1987)
More Action Oriented than Funny this Time
Following the smash hit that was Beverly Hills Cop, a sequel was soon put into production by producers Don Simpson and Jerry Bruckheimer. Released in 1987, Beverly Hills Cop II was an immediate hit at the box office and is even the highest grossing installment in the series to date, even if it wasn't a big hit with critics compared to its predecessor. Watching the film shortly after viewing the original back to back, it's far more action oriented than before and mostly utilizes the laughs with the cast than anything else. That being said, it's hard to not have fun with this unabashed 80s cop cheese.
In this followup, Axel Foley reunites with Beverly Hills detectives Billy Rosewood and John Taggart to stop a criminal organization to avenge their wounded captain Andrew Bogomil. Now where the first Beverly Hills Cop played out as a simple enough mystery of Axel trying to track down who killed his friend, this sequel is admittedly a lot more convoluted story wise. The villains' primary plot is admittedly harder to comprehend this time around due to how many layers are spread within their heists, and they usually only appear whenever the plot demands it. That being said, any complicated plot details almost don't matter here because Beverly Hills Cop II knows that audiences just want to see Eddie Murphy get into all sorts of wacky hijinks. In keeping with Murphy's witty improvisational energy, the filmmakers allowed for just the right level of energy whenever Axel Foley's fast-talking riffs come into play. Arguably more rambunctious this time around, Murphy's quick wit never runs out of steam and treats us all to some of the fastest comedic timing the series has offered so far.
On top of the comical aspects, Murphy also elevates Foley's detective skills as he tries to solve the case with Rosewood and Taggart, the latter of whom remain as hysterical of a pair as beforehand. Also, it's been said that the original cut of the film was more action packed than comical, so having some notably chuckle worthy appearances of Chris Rock and Gilbert Gottfried are worth the price of admission. Speaking of action, director Tony Scott carefully crafts each sequence with skillful direction, whether they be the film's opening robbery to the many destructive car chases and shoot-outs that make typical moviegoers adore the genre. Considering how much higher this sequel's budget is compared to its predecessor, the filmmakers managed to squeeze in lots of high-octane blockbuster entertainment in just under two hours. And of course, it wouldn't be a Beverly Hills Cop sequel without an excellent soundtrack, especially the Oscar nominated Shakedown perfectly establishing the ride we're in for, let alone by reintroducing audiences to Axel in his Detroit lifestyle.
So while Beverly Hills Cop 2 might not objectively hold a candle to the first film, its thrilling action set pieces, returning cast and proficient direction make it so much fun to watch as far as cheesy 80s cop movies go. If you're looking for another rambunctious ride with Axel Foley that's more focused on the police action than the overall humor, then this film should be right up your alley. Much like its predecessor, it's purely entertaining thanks in large part to its lead man steering the wheel much of the time, and that's all I could personally ask for at the end of the day.
Beverly Hills Cop (1984)
Axel Foley's First Foray
Of all the popular film franchises to star Eddie Murphy over the years, the Beverly Hills Cop series was the one to set him into international stardom. Going back to the original 1984 feature, it was an immediate blockbuster upon release and launched a total of three sequels later down the road, with the most recent one having come out this year on Netflix. So in looking back on the film that formerly introduced audiences to Detective Axel Foley, the best way to describe it is your typical police action movie that's elevated just enough by Eddie Murphy's charismatic raunchy lead performance.
The film follows the aforementioned Axel Foley, a street-smart Detroit detective, who visits Beverly Hills, California, to solve the murder of his best friend. While sounding far-fetched in concept, the film's execution shows a distinct contrast between Foley's sharp witted approach to police work and the California officer's more by-the-books nature. Even at Foley's most annoying, Eddie Murphy's genuinely charming charisma keeps the laughs afloat as the character endears himself to the Beverly Hills residents without being directly mean. By being a fish out of water, Foley's strong determination to get back at the ones who murdered his friend works in keeping the pacing up to snuff. In addition, Foley's growing bond with detectives Rosewood and Taggart offers some hearty gags that are elevated by John Ashton and Judge Reinhold's buddying chemistry, which becomes more wholesome as they eventually help Foley along the way. While the source material isn't the strongest in terms of getting solid laughs out, Murphy truly gave Beverly Hills Cop its own unique voice.
In addition to Murphy's solid performance, director Martin Brest blends together the film's street-smart humor with some more traditional cop sub genre tropes. Alongside some fairly strong action scenes, the film can often be just as intense as it is funny, if not a bit more as the case becomes more life threatening during Axel's "vacation". In fact, Steven Berkoff is perhaps the most successfully intimidating antagonist playing the suave yet shady gallery owner Victor Maitland, at least more so than his goons who don't stick out much from other cheesy action movie foes of the time. Lastly, even people who aren't familiar with the series can agree that the soundtrack slaps, largely thanks to the early / mid '80s electronic synthesizers and Harold Faltermeyer's catchy score. The main theme fits Axel Foley's character and motivations so seamlessly that you know you're in for a fun ride, even during suspenseful scenes when they make sure to quiet it down for. The filmmakers managed to emphasize the Beverly Hills setting with a lot of spunky energy, Murphy, music and all.
So while not the freshest concept out there beyond its basic setting subversion, Beverly Hills Cop is still a genuinely fun ride thanks to Eddie Murphy's wise guy charm and the filmmaker's commitment in making a fun blend of street-smart action and comedy. Now that the film has reached 40 years in the spotlight, I would recommend people check it out for a fun old time, regardless of how familiar you are with police movies. Looking back on Axel Foley's first cinematic endeavor, while it's not a movie I would personally go back to often, I still appreciate how much fun Murphy and the crew had in stirring it all up.
Beetlejuice Beetlejuice (2024)
Overstuffed but Nonetheless Fun Followup
After more than 30 years in development limbo, Tim Burton and Michael Keaton have finally reunited on a Beetlejuice sequel. Known as Beetlejuice Beetlejuice, the film premiered at the 81st Venice International Film Festival back in late August shortly before opening in theaters worldwide on September 6th. As of now, it has garnered generally positive reviews and decent financial returns after its first week, so it seems like fans have mostly not lost interest in a followup to the original. But now having seen the sequel for myself, it's time for me to see if 35 years was truly worth the wait or not.
Set decades after the first film, a now grown up Lydia Deetz struggles to keep both her daughter Astrid and general family together following her husband's death, all while dealing with the specter Betelgeuse returning to haunt her. In continuing with Lydia's life many years after her first encounter with the titular demon, Burton and writers Alfred Gough & Miles Millar recaptured the goofy gothic content while brewing with various concepts just begging to be unleashed. With that being said, this sequel's biggest issue lies in how messy the plot is, as three stories are trying to be told simultaneously without proper nuance. Had the fully developed soul-sucking witch Delores been treated as the main threat, then the film would have been a little more concise, but the obstacle of Astrid falling for a boy who happens to be dead comes out of left field and gets poorly resolved. I definitely understand that the filmmakers wanted to do a lot within the Beetlejuice universe, but when you only have less than two hours to fill, balancing so much story at once isn't always a good payoff.
However, as messy as the script can be, the movie's overall zany energy more than makes up for it in the long run. Despite his older age, Michael Keaton was clearly having a blast portraying Beetlejuice in his obnoxious vulgar glory, raunchy one liners included. Since the heart of Lydia and Astrid's relationship remains intact, Winona Ryder and Jenna Ortega share decent enough chemistry with each other, although Astrid is admittedly not as interesting as Lydia is considering how much the curse of Beetlejuice still plagues her. Catherine O'Hara is even funnier as Delia with her pretentious artist persona, and Willem Dafoe makes the most of his small ghost detective role. Having said that, Monica Bellucci isn't utilized enough to make her character more intimidating than they could have been given her strong setup, Justin Theroux's character is too phony to have much redeeming value, and the less said about Charles the better. Some characters in the film are better than others, but the ones that matter more will keep you intrigued almost as much as Beetlejuice himself.
In addition to the production design feeling just as macabre as it was before, the mixing between the computer generated imagery and practical effects is so seamless that you hardly notice them. While the original Beetlejuice was meant to reflect cheap B movie production qualities, this film manages to successfully blend stop-motion, gritty production props and creative CGI to make it feel like the actors are fully immersed in the artificially frightening afterlife. Much like Burton's other works, the dead are a lot more grounded and level headed than the actual living souls, and the brimming cinematography and accompanied music score elevate the random non stop humor to glowing results. If there are any setbacks to the phenomenal work done here, it's that the afterlife's bureaucratic system isn't fully utilized enough to allow for a lot of interesting world building to take place. Considering my aforementioned issue with too much plot being crammed in here, maybe a little more time spent in the afterlife would have benefited this sequel a lot further.
Despite being a bit too full of creative ideas for its own good, Beetlejuice, Beetlejuice is still a fun watch bursting with comical manic energy and the kind of random weirdness fans have come to expect. Even if the time for a Beetlejuice sequel has long since gone away, I am still content that it exists now and can easily recommend it for those curious to check out, fan or not. There's a lot of great content to be found in here in spite of its messy execution, and it's always fun to see Burton's bizarre view of the afterlife even way past his prime. Nearly 40 years since the original and it's show time once again.
Rosewood (1997)
A Haunting Period Piece on the Dangers of Enforced Racism
In 1923, a racially charged massacre in rural Levy County, Florida took place known as the Rosewood massacre, in which a white mob killed black people and destroyed their town. Despite being a fairly obscure historical documentation of American racial riots, the late black filmmaker John Singleton released a semi fictionalized feature recounting the time period and the effects it had on the former African American residents. While the film is not super well known to the public, I would argue it is a must watch for anyone regardless of their racial backgrounds due to its timely message of enforced racism.
The film focuses on an outsider who comes into Rosewood and inspires residents to self-defense, all the while becoming entangled with a local witness and a white store owner to save the local black residents from the town's racist white people. With all of these different characters coming into play, Rosewood captures the haunting reality of how ruthless societal prejudice was at a time when the South was still deeply rooted in segregated intolerance. Despite showing the fairly prosperous African American residents of the town, the integral breeding of social racism always looms over their lives, no matter how innocent and down to Earth they may be. While the inclusion of a western archetype hero might feel a bit far-fetched in concept, the character of Mann works quite well in the story in being both a symbolic representation of standing up for your rights, no matter who may be against you. Thanks in large part to Ving Rhames's charismatically stoic performance, we as the viewers can feel the pain Mann witnesses towards those in Rosewood as much as the pain he has inside.
In addition to Rhames, Jon Voight also makes for a strong deuteragonist as one Rosewood's few white residents, John Wright, who tries to stand against the intolerant hate-filled violence towards the black residents in spite of his own rooted ignorance. Don Cheadle plays off well with Rhames as the headstrong Sylvester, who's justified resentment towards racially charged mistreatment leads him into trouble whereas his mother Aunt Sarah remains one of the most sympathetic characters in the entire feature. Many of the other characters play integral roles to the obstacles coming into play, such as Mann's flame Beulah and the town's overwhelmingly conflicted Sheriff Walker, and the intensity of the racial motivations threaten many of their choices far beyond their general lives. Also, it was quite clever of Singleton and writer Gregory Poirier to include a small mini story of how a white boy's supremacist father damages him more than the man thinks, showing how some who are taught prejudice don't always take it to heart, no matter how hereditary it may be.
As far as the presentation is concerned, notable Rosewood survivors Minnie Lee Langley and Arnett Doctor served as consulting sources for the set designers and overall authenticity behind the film's time period. With that in mind, the rural Florida atmosphere makes it feel like we're back in the early 1920s, further complemented by the elaborate wardrobe, crude home living conditions and somewhat muted cinematography. In fact, the harsh grim lighting is most effective during the nighttime sequences, whether a lynching occurs or a rioting mob comes into play. Much of the dramatic grimness is elevated beautifully by John Williams' gut wrenching score that can make even the quieter moments frightening to witness. Knowing how much work went into recreating what it was like to survive in the deep South for this feature, Singleton and the crew clearly paid their utmost respects towards the chilling realities faced upon minorities at the time. To quote critic Stanley Crouch, "never in the history of American film had Southern racist hysteria been shown so clearly."
By appropriately dramatizing the infamous tragedy to emphasize hereditary prejudice, Rosewood could be one of the most brutally harrowing depictions of racial violence ever made in film. It is a thoroughly hard watch for anyone out there, but its thematic reminders of the influenced racially charged violence back then are just part of why it deserves to be rediscovered and reanalyzed as a modern cinematic masterpiece. We can never rationalize the horrors of the past today, but whether it be through film or another art form, we can always inspire others to move toward positive change with this context in mind.
Cecil B. Demented (2000)
Both Mainstream and Underground Cinema Get a Well Deserved Bashing Here
Imagine if a group of indie filmmakers took their passions way too far for the sake of art. In the case of John Waters' obscure black comedy Cecil B. Demented, this feature chronicles what happens when a rebellious director and his team of misfits go out of their way to wreak havoc on society to make the most ambitious masterpiece they can. While not often regarded or even known much in Waters' filmography, this film is still an interesting if flawed satire on renegade filmmaking gone haywire. Comparisons to the kidnapping of Patricia Hearst aside, this film tackles cultish cinema hilariously.
The film follows a snobby diva A-list Hollywood actress named Honey Whitlock who gets kidnapped by a band of terrorist filmmakers and being forced to star in their underground film. This band of filmmaking misfits are the Sprocket Holes, led by the notoriously manic film director Cecil B. Demented, who is determined to make his ultimate magnum opus by any means necessary. In lampooning how overindulgent underground filmmaking can be, Waters keeps his subject intact with a story of an entitled celebrity being stuck in a dangerous circumstance. Melanie Griffith manages to portray Honey Whitlock with stark arrogance yet emotional bleakness as the A-lister realizes how polarizing her reputation is outside of her prestigious presence. As much as the film industry gets a well deserved bashing here, one could argue the film is mainly about how both sides of mainstream adoration and filmmaking idolization can be too damaging for anybody who takes it all too far. It is simultaneously hilarious and depressing the more we stop and think about how problematic both aspects are.
Now as this film is part commentary on the effects of cult-like mentalities, it's fascinating to see that type of mindset executed on a group of vigilantes trying to make the penultimate underground feature. Whether these figures are the actor Cherish, the actor Lyle, the art director Lewis, the hair stylist Rodney or the driver Petie, all of the crew members share this love-hate relationship towards filmmaking that makes them as intimidating to witness as they are hilarious in presence. Perhaps the most sympathetic crew member is the costume designer Fidget, since his naivety is much more believable based on his age and uncomfortableness in being away from his parents on such a dangerous production. The cast truly give it their all, although not all of them get enough time to make much of an impact, and the scenes showcasing real life actors playing in fictionalized Hollywood fodder aren't as effective as the unhinged devotion from the Sprocket Holes. Much like Waters' other features, the supporting cast elevate the plot with their insane personalities simply seamlessly.
In paying homage to zero budget filmmaking, the actual production qualities are a bit of a mixed bag here. On one hand, the general Baltimore shooting locations show a lot of abandoned buildings and urban city areas as the kinds of places these criminal filmmakers would make their features at, complete with grim costumes & makeup and decorative trashy backdrops. That being said, the actual movie feels like it's being recreated by the same type of degenerate criminals it's satirizing, thus making much of the production design and cinematography feel a bit too amateurish for its own good. Waters has been lauded for his crudely juvenile directorial presentation over time, but it feels out of place here compared to his actual no budget movies with far fewer resources behind them. The best attribute to his directorial method here is the banger soundtrack, which fits quite well within the maddening chaos and is also a lot of fun to listen to as well. Not every production quality lands well here, but it's admirable to see Waters go back to his roots albeit in a more streamlined sense.
Despite some of its creative shortcomings, Cecil B. Demented is still a mostly fun outing for John Waters in bringing his transgressive views towards the endless debate of mainstream and indie cinema. While far from one of the man's finest achievements, it is still worth checking out for its unhinged attitude towards those who suffer from fame and attention and those who worship an artform way too much. There's a good chance that after seeing this, you yourself might think a lot differently on the effects of artistic devotion, no matter how absurd they may appear to be from the mavericks out there.
Studio 666 (2022)
Meant More for Foo Fighter Fans
I'm not much of a Foo Fighters fan but I can tell that Dave Grohl and the gang had a lot of fun making this. It does what it sets out to do fine enough but nothing in here will leave much value in the long run.
That being said, the fact that Jeff Garlin played the band's manager is hilarious to think of when putting this out of Curb your Enthusiasm context. In addition, it's cool to see Jenna Ortega in a different horror property besides Wednesday in 2022. Whitney Cummings also has some funny moments but her character doesn't get utilized as much as she should.
There's a good chance the average rock head will enjoy this movie a lot more than the average viewer. Studio 666 might have benefited from having a fictional band instead of an already existing one come into play. That said, it is nice to see Dave Grohl venture out into filmmaking instead of just music.
Starman (1984)
Emotionally Heartwarming Tale of Inttergalactic Bonding
In 1984, horror movie legend John Carpenter released one of his more optimistically emotional features, Starman. Starring Jeff Bridges and Karen Allen, the film was very well received upon release despite not doing well financially, and even garnered some notable awards including a Best Actor Oscar for Bridges. Known as a sci-fi alien story with a romantic spin, this feature might be one of the most emotionally satisfying films in Carpenter's filmography, and it's very easy to see why after 40 years in the spotlight.
The film tells the story of a space being who crashlands on Earth following a miscommunication with the American government. After inhabiting the body of a late Wisconsinite, the being and forces the late man's widow Jenny Hayden to venture to Arizona by means of reuniting with his home planet. Although Starman does contain a pretty typical plotline for the U. S. government trying to track down an alien out of irrational fear, it is more of a human romance flick with Jenny forging a close relationship with the Star Man as it tries to comprehend the planet in its own unique way. Rather than being a genuine threat to Earth, the being is more open minded and peaceful to others, but his odd communication skills are what lead to many people fearing him and refusing to understand him beyond Jenny. Bridges and Allen have such sympathetic chemistry with each other that you end up feeling for them as the journey intensifies with the U. S. government coming into play. Equal parts emotionally devastating and heart warming, this feature might be one of the most deeply human sci-fi features I've ever had the privilege of seeing.
On top of the emotional aspects, Bridges' performance as the Star Man impersonating Jenny's late husband Scott is so sentimentally endearing that one can't help but to either laugh or cry whenever he communicates with others. In addition to Jenny's weary growing empathy towards the being, SETI scientist Mark Shermin is also intrigued by the Star Man's presence rather than feeling threatened by him coming to Earth. Charles Martin Smith portrays Shermin with realistic passion that can feel cocky without being obnoxious, and his genuine sense of intergalactic morality is what makes him far more endearing than the more heavy handed George Fox who attempts to destroy the Star Man. Many of the other players are either obstacles in Jenny and the Star Man's way, or general militaristic opponents either aiding or breaking Shermin and Fox simultaneously. As this film is largely a cross-country rapport between two bonding beings from different worlds, we are able to focus more on the leads than the supporting players and still gain some form of human connection with the latter as the film goes on.
As this is a science-fiction feature at its core, the special effects produced for the big screen are remarkably well crafted largely thanks to their simplicity. Carpenter and the VFX crew only use the intergalactic effects when it is essential to the plot, whether it be the Star Man's computeresque perspective, the silver spheres it uses for energy, or even its personal methods of displaying maps. It's hard to say what sort of methods were being used at the time of the film's production outside of older computers and traditional sci-fi techniques, but the limited usage allows for the occasional usage to feel that much more special compared to other sci-fi films that utilize the effects a lot more. Also, the cinematography and editing compliment the film's intense yet gratifying tone with naturally harsh lighting and the open locations adding into the suspense. Lastly, Jack Nitzsche's score accompanies the lightheartedness in addition to the suspenseful tension, along with an emotionally captivating soundtrack with original hits like All I Have to Do is Dream for good balance. It's not often you watch a sci-fi film that only uses its effects sporadically for the right reasons.
Conceptually science-fiction yet dramatically sweet and captivating, John Carpenter's Starman is a carefully crafted story of human outerwordly interaction that is unlike anything seen in the sci-fi genre then and even now. Regardless if you're not into sci-fi or Carpenter's filmography, this film is a must watch for anyone who can find genuine connection to those out of our own world, let alone humanseque aliens. I couldn't have been happier to see a film as emotionally gratifying as this in a genre I don't always seek out, let alone on the big screen.
Beetlejuice (1988)
Still One of Tim Burton's Most Unique and Original Movies
In 1988, a then fresh newcomer director Tim Burton released his second directorial effort known as Beetlejuice. Released to a positive critical reception, the film was a huge financial hit and ended up bringing the very character of Beetlejuce into pop culture. In addition to an animated series and a stage musical that commemorated the feature's 30 year anniversary, there is now a long awaited sequel coming out this Friday with Burton and titular star Michael Keaton returning for another hurrah. So looking back at the unique dark fantasy comedy that started it all, how well does it hold up?
The film focuses on a recently deceased couple, Adam and Barbara Maitland, who cannot leave their house as ghosts. After a new family moves into the house, the Maitlands contact a "bio-exorcist" called Beetlejuice to scare the inhabitants away. Now despite Beetlejuice being the titular character, he himself is more of an antagonistic foe rather than the primary focus that are Adam and Barbara. The Maitlands are quite sympathetic in how they resent the living intruders infesting their homes, largely thanks to Alec Baldwin and Geena Davis's endearing chemistry. While this premise could easily be used for psychological horror, Burton and writers Michael McDowell and Warren Skaaren execute the film in a fairly playful comedic manner in showing Adam and Barbara attempting to frighten the Deetzes, the family's odd encounters with them, death being a complex bureaucracy and Beetlejuice himself being a cooky troublemaking pervert. Equal parts bizarre in concept and hysterical in execution, Beetlejuice manages to blend shocking pathos with surreal comedy quite smoothly.
Speaking of Beetlejuice himself, Michael Keaton steals the show, hamming up his scenes any chance he gets and pulling off a lot of the film's most disturbingly funny jokes. He makes for a strong obstacle not only to the Maitlands, but also Lydia Deetz who is the only living being that can immediately see Adam and Barbara. Lydia is perhaps the second most sympathetic character in the film thanks partially to Winona Ryder's relatably emotional performance and her struggle between being an outcast in her family and wanting Adam and Barbara to live in their house peacefully. In addition to the more sophisticated Charles Deetz and his eccentric artist wife Delia, other fun characters include the prudish interior designer Otho who becomes smitten by the Maitland's presence, Adam and Barbara's sardonic caseworker Juno, and humorous appearances of Dick Cavett and Robert Goulet as straightforward representatives of the Deetz family. The cast are largely why people remember this film so fondly, and they did not disappoint in generating both the laughs and thrills.
In addition to the film being darkly comedic, it also looks dark and creepy from a production design standpoint. Tim Burton himself stated that he intended Beetlejuice to reflect the kinds of cheap looking B movies he grew up on, and it shows quite well with all of the elaborate creature animation, prosthetic makeup and interior design crafted for the big screen. While the primary house reflects the seemingly laid back New England countryside quite prestinely, the imaginative afterlife sets and macabre design work are incredible to witness, accompanied greatly by Thomas E. Ackerman's ghoulish cinematography and Danny Elfman's heightened score. Also, it should go without saying that the costumes define each character so well, not just Adam and Barbara's consistently worn outfits, but also Lydia's contrasting gothic wardrobe, Beetlejuice's numerous charismatic suits, and all of the mysterious clothing around the ghouls. Slap on some banger Harry Belafonte numbers for good measure and you've got a dark horror comedy that looks as creepy as it is hysterically witty.
As of this day, Beetlejuice might be one of Tim Burton's most unique and original features complete with combined dark humor and emotional pathos, lovably eccentric characters, incredible filmmaking techniques and great albeit sporadic music. Being one of the guy's more popular features in the current cultural zeitgeist, it is absolutely worth a watch regardless if you're interested in the upcoming sequel, animated series or musical all at the same time. It's always showtime no matter when you watch this flick, as it's all in good fun and pumped with just enough Michael Keaton to go around.
Adaptation. (2002)
How it Feels to Experience Writer's Block
What happens when someone genuinely talented yet miserably insecure tries to adapt one medium into another and gets locked into writer's block? In the case of the 2002 comedy-drama Adaptation, what started off as acclaimed screenwriter Charlie Kaufman's attempt to adapt Susan Orlean's non-fictional book The Orchid Thief into a movie script turned into a creatively scattered nightmare. Scathingly original and sporadically entrancing, this feature might be one of the most unique looks into creative withdrawal captured in film out there, at least from an entertainment writer's point of view.
I must say that the cast are what truly make this film come to life just as much as Kaufman's unconventional screenplay and Spike Jonze's imaginative framework direction. As Nicolas Cage portrays both Kaufman and his fictional brother Donald, he manages to capture their similarly creative minded goals for writing and distinctive personalities so well that it's hard to believe Cage didn't have a twin brother the whole time on set as opposed to the split screen method. All of Kaufman's inner frustrations are executed throughout his lack of momentum in finding anything to write about in such a non substantial novel, be it depression, loneliness or self deprecation. Some of these frustrations are thankfully intertwined with Meryl Streep and Chris Cooper as Orlean and her subject John Laroche respectively, and their narrative allows for a lot of subtext in how much passion can come from anywhere and anything, let alone obsession with nature. Other notable players include the women Charlie and Donald get to know overtime, including violinist Amelia Kavan and movie supporter Caroline Cunningham. However, Brian Cox almost steals the scenery once he portrays story lecturer Robert McKee, as his insight could either make or break screenwriting for anyone.
Now with all that said, I do admire the film's creative angle to showcase what could occur when a talented writer gets too caught up in their own ways that they can't form a conclusion to a project they're working on. This is best showcased whenever Charlie struggles to just communicate with Susan Orlean in person, further indicated by his downward spiral into putting his own life into the script and not being able to distinguish his point of view from what he thinks Orlean is like. Having said that, what does become a problematic aspect is how far the film takes its concept of blurring fiction with reality to a default, and nowhere is that more evident than in the third act. Without giving much away, the end goal for the orchids that Laroche and Orlean chronicle leads to a bizarre climax that feels too forced to take seriously and impossible to interpret within the context of the movie. I understand that the film is exaggerated to add into how little you can do with one source material compared to another, but the last 30 minutes nearly took me out of the experience to the point where I'm debating what Kaufman was trying to say in the first place. Call me clueless, but I don't think this was the way it should have gone.
But regardless of my personal issues and questions with some of the film's creative choices, I still think Adaptation is worth checking out for its mere execution alone. Anyone who has struggled with writer's block and creative fatigue will surely find something to relate to in this flick, and who better to connect with on a subject like that than a writer who doesn't hold your hand and allows anyone to interpret their work however they feel?
Horton Hatches the Egg (1942)
Faithful Adaptation 100 Percent
I think the first ever adaptation of any Dr. Seuss book was the 1942 Merrie Melody cartoon, Horton Hatches the Egg. Directed by acclaimed LT director Bob Clampett, this short is remarkably faithful to the doc's original story while still implementing some humorous Warner Bros. Style antics to balance it all out.
Apparently, Clampett and his team didn't even produce a storyboard / script from scratch and instead used his own copy of the book as a blueprint for additional material to include, most of which are the kind of juvenile gags you'd see in any Clampett or Tex Avery cartoon during this time. Having said that, the primary focus of Horton the elephant being used to sit on an egg from a lazy irresponsible bird named Mayzie remains intact quite nicely. The initial themes of staying faithful to someone and maintaining trust in spite of being a laughing stock are still prevalent and thus make Horton a truly sympathetic lead. While there could be an argument about how Mayzie is portrayed from a feminist perspective, the idea that some people can be more responsible than the initial parent remains as timely as ever. Add in some humorous Looney Tunes content for extra levity and you've got the longest running WB short made in the Golden Age without it feeling long at all.
On a side note, the late Kent Rogers voiced Horton himself, and while the short is carried through Frank Graham's solid narration and Sara Berner's hysterical portrayal of Mayzie, his genuine emotional delivery makes Horton far more empathetic than the Doc and Bob Clampett already made him out to be. Rogers sadly parted this world not long after the cartoon was released, so hearing him as such an innocently devoted elephant really hits home. I only wish he could have done more beyond his work at Warner Bros and other studios, but we'll always have works like this to remember him by.
I don't think I have much else to say, but Horton Hatches the Egg still holds up today. It's a charming blend of two different styles, with Seuss's content and Clampett's humor stretching for miles. Definitely give it a watch if you might, I'm sure you'll find some value in this cartoon alright. I meant what I said, and I said what I meant, this short is worth the watch, 100 percent.
The Lost Boys (1987)
The Quintessential 80s Vampire Flick
Modern day vampire stories have been done forever, but to make them stand out, one must depict the monsters in a certain timeline. In the case of the 1987 supernatural horror comedy The Lost Boys, vampires being depicted as renegade young adult males was quite unique for the time. Directed by the late Joel Schumacher, this film garnered fairly positive reviews and financial returns and is now considered a cult classic, down to spawning a couple sequels and a comic book series. So looking back at this take on '80s vampiric storytelling, how well did it turn out in the long run?
The film follows two teenage brothers named Michael and Sam Emerson who move with their recently divorced mother to the town of Santa Carla, California, only to discover that the town is a haven for vampires. With this in mind, the film cleverly depicts the vampires as a mischievous biker gang who cause small mayhem to the town Boardwalk and its inhabitants, which draws Michael into them. Now as far as vampire mythology goes, how this gang became vampires is never fully explained, but some lore on how the undead roam the Earth is sprinkled throughout the plot thanks to the self proclaimed vampire hunters, the Frog hunters. As for the plot itself, much of it focuses on Michael slowly transforming into a vampire from the cult and trying to resist becoming a full blooded killer, and it does add some much needed suspense to his relationship with the much more frightened Sam and their naive yet easily annoyed mother Lucy. In addition to some genuine thrills and laughs mixed around, this film knows to take itself seriously enough while keeping the tone somewhat humorous all at once.
In keeping with the gothic tone, Kiefer Sutherland portrays the leader of the vampire gang, David, with such intimidating anarchy that it makes the gang's costume design and freaky makeup stick out so much more. The stakes are usually at their highest when he comes into the picture, as well as Michael's crush Star, who is reluctantly in the gang out of her will and yearns to get out of it. In addition, Barnard Hughes is wonderfully eccentric as the grandpa and Edward Herrmann makes Lucy's love interest and employer Max seem so down to Earth and modest, although his true persona is quite humorous by the end. Admittedly, many of the smaller characters aren't super well developed beyond their basic roles, including the other vampires and Star's supposed little brother Laddie. It makes sense that Max and his brother are the primary focuses, but a little more screen time to emphasize what these guys are like would have helped add more substance into their roles. Otherwise, the cast still make the most out of their characters' attributes and the film wouldn't be as suspenseful without them.
Going into the look of the feature, the northern Californian setting adds into the modern day atmosphere and keeps the locations sparse enough to add into the suspense. While Max and Sam's grandpa's house looks kooky and taxidermish from an outsider's point of view, the actual vampire hangout is horrifically macabre and makes one feel as if they've entered a cavern straight out of a mid '80s nightmare. Michael Chapman's cinematography captures the haunting fluidity of seaside California both during night and day, and some notably high flight sequences make use of less being more to show where the vampires are going. Thomas Newman's score blends eerie tension with orchestral intensity as the danger intensifies, and the soundtrack is a lot of fun to listen to on its own, including the recurring theme Cry Little Sister. The mix of earlier beats like Good Times and People Are Strange along with then contemporary originals like Lost in the Shadows allows the film's punk rock aesthetic to blend in with the tone, thus making The Lost Boys a retro music classic.
While underdeveloped in some of its mythos and characters, The Lost Boys is still a uniquely thrilling vampire flick with enough dark humor, visually enticing production qualities and entrancing eeriness to go around. Unless you're jaded with vampire content, this film is definitely worth checking out to see where the sub horror genre was being taken into the modern day way back in the punk rock scene. Anyone into the music and horror aesthetic of this feature can easily recommend at least one attribute to acknowledge in full, and there's a lot to admire for something this freakily baller.
Lost in Translation (2003)
What it Feels Like to Reconnect with Others Outside of Your Own World
Out of all the films in Bill Murray's popular filmography, one of the most emotionally intense dramedies he has ever been in has to be Lost in Translation. Marking the second directorial effort of filmmaker Sofia Coppola, the film was a huge critical and commercial success upon its initial release in the fall of 2003, and even won Coppola the Oscar for Best Original Screenplay. In addition to being one of Scarlett Johansson's earliest breakout acting roles, the film has managed to stand the test of time as one of Murray's best projects he's been a part of. So what exactly made it work so well in the long run?
The film follows a fading American movie star Bob Harris, who ends up facing a midlife crisis while staying in Tokyo to promote Suntory whisky. While there, he befriends another estranged American named Charlotte (Scarlett Johansson), and the two form a strong friendship while both facing isolation. From the start, Lost in Translation is a relatively bleak albeit humorous exploration on feeling disconnected from your own life and a different cultural backdrop from your own. Where Bob Harris is facing a miserable midlife crisis on account of his 25 year long marriage and career slump, Charlotte is a Yale graduate who can't find human connection outside of her workaholic photographer husband John and is worried about the uncertainty of her future. Rather than implying a full blown romance, Coppola manages to keep Bob and Charlotte's relationship largely platonic yet deeply entrancing, and both Murray and Johansson play off so well together that their generational distinctions don't hold back how much their inner emotions compliment their uncertainties about life and romance.
In addition to Murray and Johansson, much of the supporting characters are interesting more so for their basic roles than much else, but the cast do the most with what they're given. Giovanni Ribisi works well in displaying the fluctuating swings John faces in his pressuring job, Anna Faris is adorkably hilarious as Hollywood actress Kelly while still coming off coddled in her fame, and Charlotte's friend Charlie is carried well through Fumihiro Hayashi's rebellious performance. It could arguably be said that Charlie is the one who really makes Bob come out of his shell beyond him stewing in his own monotony. Many of the other characters mainly serve their roles for Bob and Charlotte to interact in, and some of them might be a little exaggerated to the point of being labeled as stereotypes for ignorant white people to get into conflict about. Many of these interactions do feel problematic when analyzing the film from an American's point of view of Tokyo, but the film is more meant to reflect one's own experience than Japan as a whole, so the content is debatable but not inherently offensive.
Speaking of Japan, Coppola and her team made the absolute most out of their time in Tokyo by taking full advantage of the city's large-scale backdrops and pop culture phenomena. Lance Acord's cinematography captures the intrinsic decor and modern architecture of Bob and Charlotte's hotel that is beautiful to look at as it is entrapping, and the outdoor areas of Tokyo feel endlessly inviting and cluttered thanks to all that is on display. In addition, while jumping from one scenario to another, the editing can be quite brisk from time to time while also remembering to take things slow at the quieter scenes, which allows for a healthy contrast between Bob and Charlotte out on the town and taking things slow and steady. Lastly, the soundtrack features some truly delightful tracks that harken back to the dream pop sub genre of indie and alternative rock, which perfectly compliment the feature's melancholic atmosphere and prevalent themes of alienation and disconnection. Even without watching this movie, you'll find at least one track that'll resonate with similar feelings of your own.
In effectively balancing relatable humor and serene pathos seamlessly, Lost in Translation is endlessly captivating thanks to its strong lead performances, emotionally gratifying tone and gorgeous depiction of Tokyo's progressive modernization. Regardless if you're a fan of Bill Murray, Sofia Coppola or neither, this is a must watch feature for anyone feeling similar emotions of emotional detachment and yearning to regain it through others outside of your own world. It's works like these that allow us to regain hope towards people in the world as long as we don't get stuck in our own, no matter how fictional.
Cuckoo (2024)
Does What it Set Out to Do Fine Enough
Hunter Schafer seems to be one of the most prominent trans actors rising in the film industry lately, and the 2024 horror film Cuckoo seems to be a steady reminder of her growing stardom. Released by Neon this month, the film initially premiered at the 74th Berlin International Film Festival earlier this year and has recently fairly positive reviews. So looking at the feature on its own accord, is it worth much hype or best to be looked at solely on home media?
The film follows an American teenager named Gretchen who moves to the German Alps to live with her father, only to notice many strange occurrences as her father's boss embroils her family in a sinister plot. Without giving away what happens, let's just say that Cuckoo is madcap madhouse horror at its most bizarre, complete with a predictable yet endlessly fascinating unraveling mystery and odd plot beats that tie everything together. Schafer herself carries the film fine on her own as Gretchen, but Dan Stevens himself is quite creepy as the intimidating Herr Konig, no matter how friendly he may seem at first. There are painfully obvious character beats that do bog some of the supporting cast down, including Gretchen's father and step mother, but the heart of the feature lies in Gretchen's half-sister Alma who has a special ability unlike any other. Add on a detective named Henry who is trying to put the mystery together and you've got a pretty concise group of characters who are down to Earth and not at the same time.
Now with that said, there is a chance that this film might be a little too hard to follow for some. As intriguing as Konig's inner plot becomes overtime, there's far too much to get behind it that one might need to rewatch the movie twice before comprehending any of it, let alone once. It doesn't help that the film can become a little too focused on the plot that it does leave some side characters out of certain sequences when they probably could have benefited from more screen time. Then again, this is primarily Gretchen's story, and she is the most integral part of the narrative, so that issue isn't too bad in the long run. Besides, one might find the editing to be a real trippy delight as the thrills increase and the music becomes more intense throughout the runtime. There's just enough to take seriously in this movie that its complicated details are easy to shrug aside in the end.
So while it might not be as psychologically concise as it arguably should have been, Cuckoo is still an inventively crafted horror flick with mostly solid performances and cool filmmaking attributes to go along with it. I'd say this is worth checking out if you're into something out of this world while still keeping its tone grounded enough to feel on edge. One can only wonder where Hunter Schafer will go from here, let alone the film's writer/director Tilman Singer, but here's hoping stuff like this works as a springboard to get them the amazing work they both deserve.
Hairspray (1988)
John Waters' Most Accessible Feature
Although John Waters is known for his transgressive cult films, his 1988 musical comedy Hairspray may be the most family friendly film he's ever made to date. Despite only achieving moderate financial success upon release, it nonetheless garnered a massive cult following and is often regarded as one of Waters' best works of his directorial career. Considering its cultural success led to an arguably more well known Broadway musical (as well as its own film adaptation), it's fascinating how much this silly indie classic became so important to the city of Baltimore and beyond after all these years.
Set in 1962 Baltimore, Maryland, the film follows an optimistically aspirational teenager Tracy Turnblad who pursues stardom as a dancer on a local TV show and rallies against racial segregation. Although Hairspray is a delightful tribute to dance program shows of the 60s and early rock & roll, it is also a timely throwback to racial segregation in Baltimore that mocks the prejudice and rewards the freedom fighters. In addition to Tracy wanting society to integrate, let alone on national television, her best friend Penny Pingleton and boyfriend "Link" Larkin are determined to cross the color picket line and get their black friends on the Corny Collins Show. Being a campy comedy, this also includes humorous run ins with parents, ignorant teachers and the police, but nowhere is it any more serious than Tracy's rivalry with the snobbish brat dancer Amber Von Tussle, who is truly a product of spoiled classism and racist money hungry parents (played effectively well by Sonny Bono and Debbie Harry). This subtly subversive take on retro popularity is just part of what makes Hairspray such a delight.
Now in addition to Ricki Lake having a ball as Tracy herself, it is just wonderful to see Waters film legend Divine as kind hearted yet physically sensitive mother Edna, as well as the brashly racist TV station owner Arvin Hodgepile. As this film would end up being Divine's final role before his ultimate passing, seeing him play alongside such wonderful cast members, including Jerry Stiller as Tracy's loving goofball father Wilbur, feels emotionally reasoning like we're saying goodbye to an old friend. But of course, Ruth Brown was clearly having a ball as the strong-willed black performer Motormouth Maybelle Stubbs, and her son Seaweed and daughter L'il Inez might be the best secondary family that Tracy, Penny and Link could have asked for. Other notable players include Shawn Thompson as Corny Collins himself, Mink Stole as Corny's personal assistant, Jo Ann Havrilla as Penny's controlling mother, and both Pia Zadora and Ric Ocasek as a pot smoking beatnik couple. One can tell that Waters tends to bring the most out of such an impeccable cast, and this film is no exception.
As this film was shot on location in Baltimore itself, it captures the natural authenticity of the city's more rugged neighborhoods to allow for the themes of societal segregation and classism to speak for themselves. Also, the production set of the Corny Collins Show is a ton of fun to marvel at, especially for nostalgia minded fans of those types of early dance shows. The editing courtesy of Janice Hampton makes use of humorous transitions that feel like the kinds of playful choices done in the early '60s when mainstream comedies went all out in their goofiness. But of course, next to the incredible wardrobe and hair stylings, the soundtrack is debatably the real highlight of the feature with numerous classic R&B hits from Waters own childhood. John Waters admitted to having written the film's script to certain songs featured in the film, so while it might not be a musical in the traditional sense, the film is still a fun filled tribute to these playful tunes, alongside the original titular opening song performed by Rachel Sweet and Debbie Harry. The soundtrack slaps after 36 years and for good reason.
Regardless if you're familiar with John Waters' works or not, Hairspray is a wonderfully enthralling introduction to his filmography thanks to its ecstatic cast, fancible tribute to Baltimore pop culture, hysterical tone and timely retro soundtrack. As the film has now been regarded culturally and historically significant by the National Film Registry, there could not be a better time to check it out on your own accord than now. It may not be as transgressive as Waters' more notable ventures, but it still holds up as one of his finest achievements in camp cinema and a testament to his talents as a cult filmmaker.
Neco z Alenky (1988)
Alice in Nightmareland
Although Lewis Carroll's Alice in Wonderland stories have been adapted into countless films over the years, perhaps what is often regarded as one of the most unique and dark takes on his material is Czech filmmaker / animator Jan Svankmajer's 1988 surrealist fantasy, Alice. In addition to winning the feature film award at the 1989 Annecy International Animated Film Festival, the film has been highly praised for its creepy production design and dreamlike visual storytelling. Unlike most films based on Carroll's original book, Svankmajer's film is presented as an abstract amoral dream rather than a fairy tale.
With the essential premise of a little girl named Alice chasing a white rabbit into a bizarre fantasy land, everything we know about the original book is turned upside down into something more personal and disturbing. In addition to the aforementioned rabbit being taxidermic, many familiar characters from Wonderland such as the Caterpillar, the Mad Hatter, the March Hare and the Queen of Hearts are presented as janky crude objects that feel like broken children's toys come to life. Along with these characters being presented through freaky looking designs and animation courtesy of Svankmajer's background in stop-motion, they contrast well with the live-action Alice who narrates the story alongside the actions of what occurs on screen. One can tell just how much attention to detail was crafted in making this nightmarish take on Wonderland stand out through unbridled imagination, and one could argue that these numerous surreal encounters are relatable from a curious child's point of view. In many ways, Alice is a fascinating expression of the unconscious mind at its most vulnerable.
Now having said all of that, despite the film being quite intriguing from its creepy world building, perhaps a bit too much care was put into the craft more so than the film's pacing. Because the film is strictly executed through visual symbolism, there is only a minimal amount of dialogue and the scenes will play out as long as they want, thus meaning they can on longer than they really need to. Many scenes where Alice is discovering something unique about the dreamlike world or getting in potential danger play out too slow and monotonously for their own good, and it causes a serious drop in momentum in what could have been much more intense with tighter story editing. The lack of music doesn't help matters, and while the sound work is quite creative along with certain sequences, sometimes it feels like they're making up for the aforementioned oddity. I completely understand the appeal behind making a more stream of conscious interpretation of Alice in Wonderland, but it makes the film far lighter on substance and value than style and design work.
Despite my immediate problems with Alice, I still recommend it as an intriguing take on the original Alice in Wonderland story albeit in a more nightmarish twist. Considering how much love and adoration the film has garnered over the years from animation enthusiasts and Carroll fans alike, perhaps Jan Svankmajer's goal of making a realized dream for an Alice film paid off well after all this time. It should go without saying that the film's dreamesque presentation might make or break the deal depending on the viewer, but regardless of your stance, there really is no take on Wonderland like this out there.
Eating Raoul (1982)
When Manslaughter Becomes Profitable
How would you react if I told you the premise of a movie was a married couple resort to killing and robbing swingers to earn money for their dream restaurant? Well, find the premise off putting or not, Paul Bartel's 1982 cult classic black comedy Eating Raoul is all about that. Initially garnering mixed to positive reviews on its original release, the film is now highly regarded as a cult favorite amongst Bartel's works and is now on the Criterion Collection for all to enjoy. Looking at the film on its own today, the best way to describe the film is a bawdy amoral comedy about conspicuous consumption taking over people's lives.
In the film, Bartel and cult star Mary Woronov play the aforementioned married couple the Blands who primarily rob swingers due to their obnoxious presence in their apartment complex. With that in mind, the two play off well with each other in their sexual desires and immoral actions as the film knows to keep things fairly tongue and cheek in spite of the ludicrousness happening on screen. On top of that, their hired locksmith Raoul Mendoza is a truly charming sleazebag played rauctiously by Robert Beltran, and his presence continues breathing life into the sexual insanity lurking on the screen. Far more devious than other get rich quick schemes you'd find in the movies, Bartel and co-writer Richard Blackburn manage to comment on inner self-indulgence from those trying to survive in hard times, all while lampooning the seediness of inner city population degeneracy. The cast as a whole seem to be having a ball no matter their role, be they crooked swingers or oddball apartment tenants, and one can only wonder how much fun the set must have been during production.
Speaking of production, in spite of the film's ridiculously small budget, Bartel and the filmmaking team managed to make the most of their limitations by keeping the locations minimal and letting the performers go loose with the material. Presented primarily like a seemingly warm sitcom, the film's sickly comedic tone allows for the more grounded setting to stick out just enough, most notably during the more intense sequences with brisk editing and shady lighting. Considering that Bartel partially spent much of his career under Roger Corman's tutelage, his experience within the micro budget filmmaking world favors the feature in only setting out what it needs to do. It should also go without saying that many of the costumes displayed throughout the cast practically make them come to life as much as their flamboyant kooky performances, possibly made in tribute and mockery towards the pop culture exploitation of the early '80s. While not large in stature, the small production qualities nonetheless keep the film on its toes all the while making the audience laugh from how the thrills are handled.
As anarchically vigorous as it may appear to be, Eating Raoul is nonetheless devilishly funny thanks to the loose improvisational flow of the cast and the decent enough presentation on screen. While it might not be completely tasteless for everyone into these kinds of movies, it is still admirable that Bartel and his team managed to make something so unique for its time back when the sexual revolution and the more free-minded era of Hollywood were drawing to an end. I would recommend this one for what it's worth, and especially to those who are unfamiliar with Bartel's work (I know I am).
Who's Afraid of Virginia Woolf? (1966)
Mike Nichols' Intensely Brutal yet Emotionally Radiant Debut
In 1966, screenwriter & producer Ernest Lehman conceived a film adaptation of playwright Edward Albee's 1962 dramatic play Who's Afraid of Virginia Woolf? Which was also directed by theatre director Mike Nichols. Upon its original release, it was not only a smash hit with critics and audiences, but it won several Academy Awards including the Best Actress award for lead actor Elizabeth Taylor. Looking back at the film nowadays, I can definitely see why it's regarded as a remarkable work of dramatic tension.
The basic premise of a late-night gathering at the home of a college professor and his wife with a young married couple can only go as far as it can go. Fortunately, much of the dialogue carried from Albee's work plays up a lot of sexual and dramatic conflict between two different married couples who are trapped in their own ways, and not just from relationship problems. Lead actors Elizabeth Taylor and Richard Burton make for the perfect broken couple in lieu of the lesser experienced married couple played sternly and poetically by George Segal and Sandy Dennis. Although their characters contrast with each other in terms of roles, they are both after similar goals of success and greed, which is accommodated by the harsh games they play with each other as they drink well into the night. Believe me when I say that there's a lot to admire in the film from the mere dialogue and acting alone.
In addition to the strong dialogue and acting, Mike Nichols knew how to elevate the film just enough from its initial stage presence into theatrical film presentation. Thanks in large part to Haskell Wexler's deep focused cinematography and the brisk editing from Sam O'Steen, we are able to perceive the film as well as can thanks to the intensity unleashed from the cast alone. Also, while only sporadically shown, Alex North's music score accompanies the tone so well that we find ourselves disturbed from certain sequences from the sound and scenery combined together. It's hard to say what the original play is like compared to the film's cinematic presentation, but Nichols and his team managed to make the most out the material by keeping things as heightened as the dramatic pathos that made the original work so intriguing to begin with.
While it may be scathing in its commentary on the dramatic downfall of marriage, Who's Afraid of Virginia Woolf? Is a remarkably well crafted adaptation of an already emotionally riveting character study. As much as I recommend this feature, I must do so on the condition that you probably won't feel so good after just one glimpse at the lives of George and Martha, and not just from their boring professions. Be it dialogue heavy or not, there's a lot to admire in a film about so little going on that still manages to affect us personally.
Brewster McCloud (1970)
Fascinatingly Unique for its Time and Now
Here's an interesting story I read shortly after watching this oddball experiment of a black comedy. The conceiver of this film, Doran William Cannon, had written the film during the 1960s while trying to make his name as a unique filmmaker during said time. Fast forward to the tail end of said decade and after a lot of hustling to get his project off the ground, it gets bought by new rising director Robert Altman who took the source material lightly and revamped it into his own version. What follows is Cannon publicly discussing his frustrations with his vision being changed against his wishes and the tough realization he had to encounter when giving your babies away to someone else.
Why am I bringing this up? Because this is one of the strangest experiments of a motion picture I've seen in quite some time, even after watching a few of Altman's 70s works following the death of Shelley Duvall (who made her screen debut here). Imagine trying to tell the story of a reclusive bird obsessed human who wishes to fly all the while becoming the chief suspect in a series of bird-related murders. There's no way you could take the premise to heart unless it were in someway tongue in cheek, and fortunately Altman elevates Cannon's material into a bizarrely surreal meta commentary on bird related activity and human compulsion, blending reality with surreality. This is accompanied by the editing which is as bombastic and jumbled as the intentionally scattered events we're witnessing on display.
The best way to describe Brewster McCloud is part dark comedy, part experimental mystery, part human reflection, part romantic ingenuity and part musical nightmare. Considering that well known record / film producer Lou Alder was behind this, as well as John Phillips of Mamas & Papas fame, some internal American music is laced underneath the film's surface and the numerous actors on screen. Bud Cort in particular is as adorably intriguing as he is disturbingly odd playing Brewster, and seeing notable Altman collaborators Sally Kellerman, Michael Murphy, John Schuck, Bert Remsen, Duvall and more act in ordinance with one another so naturally keeps the film grounded in a believable Houston setting while still keeping the pacing brisk and cluttered all at once.
In all honesty, I can't not recommend checking this film out at least once. Regardless of your tolerance for experimental oddities in film, there's something so innately imaginative about this bizarre concoction that must be seen in order to be believed. It's not everyday that a film about a human being with the obsession of flying getting caught up in a crimewave can be so inspiring for all the right and wrong reasons. Whether or not Cannon's original material was better or worse than Altman's version, this kind of work is unlike anything out there and anyone curious enough to check it out will be pleasantly surprised in more ways than one.
Fiddler on the Roof (1971)
A Miracle of Miracles After All These Years
While the debate of what is often regarded as the best movie musicals of all time has gone on for years, one that many people in the last 50 years tend to look back on as one of the finest is probably Norman Jewison's film adaptation of the stage musical Fiddler on the Roof. Released to critical and commercial acclaim in the fall of '71, not only was the feature a strong award contender during its heyday, but many film and theater enthusiasts often cite this epic period musical as one of the best of all time. After finally seeing it in full as a young adult, I absolutely agree and find it to be am magnificent work of art.
Set in early 20th-century Imperial Russia, the film follows a poor Jewish milkman named Tevye who is faced with the challenge of marrying off his five daughters amidst the growing tension in his shtetl. In staying faithful to Joseph Stein's original play, down to Stein being the credited screenwriter, the film adaptation is remarkably well crafted in depicting the bleeker side of the impoverished lifestyle that the European Jews faced during Tsarist Russia, allowing what could have been a lighter romanticized representation of said time period to feel more authentic and natural. As the film was shot partially in England and then SR Croatia, the film comes to life not only through the locations, but also with the combined choreography of Jerome Robbins and Oswald Morris's Oscar winning cinematography that captures Anatevka with prosperous hardworking people and the traditions they hold onto. While bringing the magic of Broadway into the language of cinematic art is certainly no easy task, Jewison, Stein and the incredible Broadway veterans behind the picture delivered quite well.
Going into the cast, the late Israeli actor Topol carries the film on his shoulders as Tevye with his strong charisma and radiant vocal performance. His moments of fourth wall breaking allow us to empathize with the character more inherently than if the audience was restricted to what they're seeing on screen. In addition, Norma Crane portrays Tevye's wife Golde with a tough exterior laced with her traditional mindset all the while caring deeply for her family, let alone her and Tevye's eldest daughter Tzeitel whose blooming romance with the tailor Motel springs to life the complicated progression of natural love against old school tradition. Nex to Tevye's immediate family, many notable opponents range from the butcher Lazar Wolf who had eyes on Tzeitel beforehand, the student revolutionary Perchik who turns the second daughter Hodel towards free knowledge and indepence, the Christian farmer Fyedka who has the third daughter Chava cost her own familial relationship, and the Constable who reluctantly follows orders to drive out the Jewish people of Anatevka.
But underneath all of these strong filmmaking techniques and bold cast members lies the underlying theme of moving forward in spite of what God says. Not only is Tevya's relationship with Adonai complicated based on his family's changing views, but the historical context of the European Jewish people being ridiculed by the Christian natives of their same land still remains as culturally significant today as it was back then. While the soundtrack by Jerry Bock, Sheldon Harnick and John Williams elevate the original musical treatment with a respectful decree of theatrical enlightenment, certain songs such as Tradition, If I Were a Rich Man, Sabbath Prayer, Sunrise, Sunset and the concluding number Anatevka display the contrast between prosperous traditional life and values with the underlying prejudice and implied antisemitism that has seemingly not gone away since the Jewish people have been placed on Earth. At its most cheery, Fiddler on the Roof is as spiritually enlightening as a musical can be, but at its darkest, it's a reminder of the unforgotten past that we still need to acknowledge.
Regardless of whether you prefer the original Broadway musical or otherwise, Norman Jewison's Fiddler on the Roof is an incredible achievement in cinematic musical storytelling laced with historical drama, strong performances, eye-catching cinematography and a haunting soundtrack that remains as fresh today as it was roughly 60 years ago. In honor of Jewison's passing this year and Topol's passing last year, now could not be a better time to check this masterpiece out for your own benefit. It remains a miracle of miracles for all the right reasons, and watching it makes me proud of my own Jewish roots.
Midnight Cowboy (1969)
Picturesque Story of Inner City Debacle & Friendship
Back when the MPAA was brand spanking new, the 1969 drama film Midnight Cowboy became the first X rated feature to win the Best Picture Oscar. Based on the novel of the same name by James Leo Herlihy, the film was a critical and commercial hit upon its initial release and is often regarded as an important milestone in depicting friendship within a homosexual frame of reference that still remains as culturally significant to cinema as it does to the city of New York. Looking back on the film after all these years, it's time to see what exactly it accomplished so well that has made it age like fine wine.
The film follows naive Texan hustler, Joe Buck, who travels to New York City in the hopes of scoring big with wealthy women. Upon forming an unlikely friendship with an ailing handicapped swindler, Rico "Ratso" Rizzo, the two fight their way through their impoverished lives to get out of New York. By setting the film in New York City during the late '60s, Midnight Cowboy does not pull any punches in capturing the harsh realities of classism and the unfortunate desperation many poor men have to face in the seemingly prosperous city. It also helps establish Joe as having his dreams crushed and simply not being wise enough to make it in the city as he doesn't know much of anything beyond prostitution. With that said, the film's heart lies in the relationship between Joe and Ratso, complemented by Jon Voight and Dustin Hoffman's growing chemistry with one another and numerous sexual undertones that allow us to empathize with the otherwise down on their luck lowlives. No matter how disturbing the film gets, Voight and Hoffman make the film as heartwarming as it is heartbreaking.
In addition to the two leads, the small but effective cast are either opponents or supporting players throughout Joe and Ratso's story. Outside of the police and snobbish socialites, the rich lady Cass who is too emotionally vulnerable for the man to get payment out of, and the pimp Mr. O'Daniel is suspiciously frightening before he even reveals his true colors. On the contrary, the first socialite that Joe successfully scores with, Shirley, is quite charming thanks to Brenda Vaccaro's luscious performance that shows how trusting she can be to the otherwise desperate Joe and Ratso. As for the people in Joe's life, his grandma Sally was perhaps the only one who cared for the guy growing up, even if she wasn't always there for him, and the tragic relationship he had with the heartbroken Annie provides much needed context in how much trauma Joe faces during his sexual encounters. While not as significant as the people Joe tries taking advantage of in NYC, these older people are the subtext that make the feature successfully psychologically harrowing in more ways than one.
As this film was primarily shot in New York itself, director John Schlesinger and his team recaptured the picturesque bleakness in the area as Joe and Ratso's days grow thinner and sadder. Cinematographer Adam Holender makes strong use of the crumbling cityscapes and more luscious backdrops to emphasize how much the city is eating up poor Joe and Ratso, and the editing led by Hugh A. Robertson is nothing short of hypnotically trippy, especially as the tension grows more and more intense in certain scenes, especially during a hysterical Warhol-esque party sequence. In addition, John Barry's underlying score is as melancholy as the film's grim tone while also being accompanied by the thematic harmonica tune by Toots Thielemans that could shed a tear down anyone's eyes. Also, you'd be hard pressed to find anyone who can't hum along to Everybody's Talkin' thanks in large part to Harry Nilsson's captivating performance throughout the film's runtime. Many of these attributes are just part of what make Midnight Cowboy such a worthwhile glance into innercity debacle.
Midnight Cowboy might be unrelenting in its bleak portrayal of seedy urban American life, but the lead performances, naturally real side characters, entrancing production design, and hypotonic soundtrack keep it fresh and riveting after all these decades. If you're yet to check this flick out, then I highly recommend it as a must watch, although its disturbing undertones may either leave you intrigued or taken aback, depending on the person at least. It's incredible how well this film has held up in the modern eye, and there's no doubt that it may continue inspiring people for at least another 50 years onward.
Shampoo (1975)
A Scathingly Farcical Commentary on the Sexual Revolution
Just before actor / filmmaker Warren Beatty got to direct his own work with the likes of Heaven Can Wait, Reds and Dick Tracy, he had the opportunity to produce, co-write and star in his own pet project Shampoo. Released in 1975 to generally positive reviews, the film was a huge financial success and was nominated for quite a few Oscar, with Lee Grant ultimately winning the Best Supporting Actress award. Looking at the film nowadays, the best way to describe it is a satirical overview of the sexual politics and social norms during the late 1960s, and it mostly holds up well in that regard.
The film follows a promiscuous LA hairdresser, George Roundy, who struggles between his multiple relationships and securing his own business, all during Election Day 1968. What sounds like your typical screwball comedy about romantic entanglement is more of a commentary on self-absorption and sexual undercurrents, and Shampoo manages to balance farcical situational humor and realistic stakes within George's stressful life. Beatty and co-writer Robert Towne depict the story within LA's corrupted landscape during late 60s politics and sexual awakenings, elevated further by director Hal Ashby's subtly woven detail in the old school and newer school's contrasting societal fluctuation. Although the film is often at its most poignant in its exploration of sexual tension overcoming honest human feedback, the political prowess detailed during its time period is reflected smoothly with the likes of fat cat politicians such as the clueless millionaire Lester Karpf, played with the dignity of Jack Warden, who is too out of touch to realize that his wife Felicia is one of George's lovers.
Speaking of Warden, the film's farcical tone is elevated by the strong cast of eclectic characters. As much as Warren Beatty carries the film on his shoulders, Julie Christie and Goldie Hawn play off George well as the cynical yet deeply concerned Jackie and the troubled yet emotionally impulsive Jill, both of whom act as differing counterpoints to George and Lester in differing societal norms. In addition, Lee Grant is simultaneously radiant in her gorgeous looks and deviously stubborn as Felicia, further demonstrating how much her desire for George's pleasurable compulsions can make or break all the women the naive hairdresser takes care of. Many of the other players are merely supporting opponents in George and his mate's lives, such as the adamant hairdressing staff or the other people within Jill and Jackie's careers. In addition to Richard Sylbert's culminating production design of the era, Laszlo Kovacs' naturally bleak cinematography aids everyone's fluctuating lives within the LA corruption, and the stylistic attributes are just part of what makes the cast so enthralling.
With all of that being said, because Beatty and Towne were trying to capture a lot of commentary within this film, not every target was hit perfectly. Due to how all over the place George's life is, from juggling his relationships with his attempts at getting his own business, many smaller characters and plot points can feel like they come and go, such as how bad George is at convincing bank tellers to fund his business or Lester and Felicia's daughter Lorna coming into play (played well by the late Carrie Fisher). Also, the film does meander during certain sequences, such as the counterculture party scene which could have been tightened up in the editing as we all know what the outcome will be. Not to mention, while the final 20 minutes are a great conclusion to George's relationship and business debacles, they also feel a little abrupt and rushed in how Jackie and Jill got out of the hairdresser's life. Lastly, while the soundtrack has some lovely time capsules to late '60s culture, Paul Simon's original score is surprisingly lacking and doesn't fit well in the otherwise decent dramatic payoffs.
So while it did arguably bite off a bit more than it could chew in some areas, Shampoo is still a mostly poignant look at late 60s sexual morale and political corruption combined with naturally hysterical performances and a well presented look into the Los Angeles landscape during said time. If you're yet to check this film out, now could not be a better time given that we're currently in a pressing political era, regardless of your views on the film's politics from back in its day. While Beatty, Towne and Ashby have all made arguably stronger works, there's no denying how bold this project was in capturing its subject matter.