Diamonds are a Thief's Best Friend

Film: Out of Sight
Format: DVDs from NetFlix on rockin’ flatscreen.

I didn’t know going in that Out of Sight was based on an Elmore Leonard novel, but I guessed that that was the case not too long into the film. There’s a feel to this film reminiscent of Get Shorty, for instance. A lot of Leonard’s main character criminals are too clever by a half. We discover immediately that they are criminals and that they are real criminals, but his good guys tend to be non-violent, smarter than the average, and to have a particular ethical code surrounding them. Leonard also gives us true bad guy criminals who are violent and don’t shy away from committing violence.

But really, with Elmore Leonard good guy criminals, it’s all about being cool. In Out of Sight, our sympathetic criminal is bank robber Jack Foley (George Clooney), who is busted when his car won’t start after his last job. Jack does a turn in a Florida prison. He gets out by warning the guards of a prison break by a man named Chino (Luis Guzman), knocking out a guard and wearing his uniform. Unfortunately for him, his escape involves a U.S. marshal named Karen Sisco (Jennifer Lopez). Jack and Karen spend some time in the trunk of a car together while Jack’s getaway is driven by his friend Buddy (Ving Rhames).

White Riot

Film: No Way Out
Format: DVD from NetFlix on rockin’ flatscreen.

I like film noir. I like it a lot, so I tend to spend a lot of time watching black-and-white films from the 1940s and 1950s. Of course I watch everything, but I’m always happy when a noir shows up in the mailbox. I wasn’t aware No Way Out was, in fact, a film noir until I popped it in and watched the first couple of minutes. This is not a traditional film noir in any sense, but it certainly fits into a place in the genre.

The reason No Way Out is more or less a stealth noir is that the surface story is entirely about race and racism. We’re presented with newly minted Dr. Luther Brooks (Sidney Poitier in his big screen debut, at least in a credited role). Luther has been working in a county hospital, and plans to hang around to get a little more experience. Actually, he’s hanging around because being a black doctor in the 1950s was not the sort of thing that many people were prepared to deal with.

Picks from Chip: And Then There Were None

Film: And Then There Were None
Format: Turner Classic Movies on rockin’ flatscreen.

This is the fifth in a series of twelve films suggested by Chip Lary at Tips from Chip.

The vast majority of my pleasure reading is non-fiction. I tend to read a lot of science and similar topics—cosmology, evolutionary biology, sociology, and the like. So it’s rare that I come across a movie where I’ve actually read the source material. In the case of And Then There Were None, I actually have read the source material. A couple of years ago I went on a mystery novel kick and read a bunch of Agatha Christie for a month or two. While most of that was Hercule Poirot stories, I did read the novel that this film is based on. It’s widely considered Christie’s masterpiece, and I’m not confident that I could disagree with that assessment.

In fact, this is such a classic story that it’s been spoofed quite a bit. Murder by Death is straight out of this movie’s playbook, and there’s a great deal of this in Clue as well. There’s even a connection to a film like House on Haunted Hill. But that’s all beside the point. The premise is one you’ll be familiar with even if you aren’t familiar with this particular story. A group of eight people and a couple of servants are invited to an island where they are to spend the weekend at the behest of their host, a Mr. Owen.

Viva, Las Vegas

Film: Bugsy
Format: DVD from NetFlix on laptop.

With a biopic, particularly one of a shadow figure like Benjamin “Bugsy” Siegel, the main question to ask is how true to history it actually is. With Bugsy, I honestly have no idea, but I’m also not sure I really care. Ostensibly, this film is about Benny Siegel, but in reality, it’s about the birth of Las Vegas as a desert Mecca. Vegas as a resort was Siegel’s brainchild, and more or less, this is what the film shows. That this is ultimately a tragic story is both the point and beside the point.

What I find particularly interesting here is the name of the film. The nickname of Bugsy was used only by people who had some distance between themselves and Siegel, at least according to the film. If we take the screenplay as gospel, Ben Siegel hated the name and wasn’t above violence for those who used it in his presence.

Return to Sender

Film: The Letter (1940)
Format: TCM Watch on laptop.

It’s interesting to consider the 1940 version of The Letter a film noir even though it is a solid early example of the style. The reason it feels weird is that this is a remake of a film first made in 1929. I haven’t seen that version yet, so I don’t know how much it conforms. My guess is that it probably doesn’t much. This version, though, is very solidly a noir, having all of the main elements that the noir aficionado looks for. What makes it unusual is that in this case, the femme fatale isn’t the pursuit of the main character, but the main character herself.

The Letter has one of the better openings of a film I’ve seen in at least a year. We open on a quiet Malay night. The moon is high. Rubber drips from a tree into a waiting bucket. The plantation workers are preparing themselves for bed. A shot rings out. A man staggers out of a building onto a porch and stumbles. Leslie Crosbie (Bette Davis) follows him out, watches him fall, and empties the gun into the body on the ground. I couldn’t help but think I was in for a treat after the first minute or two.

Do the Hustle

Film: American Hustle
Format: DVD from Northern Illinois University Founders Memorial Library on laptop.

Slowly but surely I’m getting around to the most recent crop of Best Pictures. For today, this means one of the two pictures nominated for 10 awards. Sadly for American Hustle, it’s the film that came up 0-for-10 (Gravity was the other film with 10 nominations). For what it’s worth, Gangs of New York also went 0-for-10 and I love that movie, so I went into this with some expectations. It also got a lot of hype, so I had expectations on that end as well.

American Hustle is complicated as hell, probably too complicated for a full rundown on the plot, which means I’ll be talking more in generalities here. Why so complicated? Because it’s about a con, and a long con at that. There are a lot of players here and things quickly spin out of hand, which means that an accurate summation of events would be not only difficult but incredibly time consuming. So I’ll be hitting the high points rather than offering a complete blow-by-blow.

Fox in the Henhouse

Film: Fantastic Mr. Fox
Format: DVD from Rockford Public Library on laptop.

When it comes to the films of Wes Anderson, I always wonder how much is the real Wes Anderson and how much is simply affectation. His style is so distinctive that it’s impossible not to recognize his work immediately. So when it comes to his animated feature debut, Fantastic Mr. Fox, I was curious as to whether or not that style would carry over into stop motion. It does. Let’s get that out of the way right away.

Fantastic Mr. Fox is based on a book by Roald Dahl, which means it will be both whimsical and quite dark in places. The meet the eponymous Mr. Fox (voiced by George Clooney) and his wife Felicity (Meryl Streep) as they are one their way home. They decide to raid a chicken far and are captured, at which point Felicity reveals she is pregnant. Flash forward a few years and Mr. Fox is now reformed (kind of), and writes a newspaper column. His son Ash (Jason Schwartzman) feels like a typical Wes Anderson misfit and is complet with quirks and OCD habits like all of Anderson’s characters. Soon, Ash’s cousin Kristofferson (Eric Anderson, the director’s brother) arrives and appears to upstage Ash in every aspect of life, including stealing the girl Ash is interested in.

Caged

Format: DVD from Mokena Community Public Library through interlibrary loan on laptop.

Ah, the women’s prison movie. Typically, these films are on the bottom end of the class spectrum and feature gratuitous nudity and violence—watch Machete Maidens Unleashed! for a nice round up of at least part of the genre. In the case of Caged, though, what we have is something more along the lines of an exposé about women’s prisons. In that sense, it’s like The Snake Pit or I am a Fugitive from a Chain Gang. There’s no gratuitous sexiness here, no lingering shower scenes or forced lesbian romps with the prison guards. No, Caged is meant to be sobering.

Marie Allen (Eleanor Parker) is 19, pregnant, a widow, and headed to prison as an accessory in the botched robbery that killed her husband. Poor Marie is painfully naïve and as innocent as a newborn lamb. She’s completely unprepared for the reality of prison, and in fact is unprepared for her own pregnancy. A kindly superintendent named Ruth Benton (Agnes Moorehead) is sympathetic to Marie’s plight and promises her a job working in the prison laundry, since that will be physically easier. Sadly for her, Marie is placed in the ward belonging to prison matron Evelyn Harper (Hope Emerson), who is both on the take from the wealthier prisoners and a sadist.

A Cat in Paris (Une Vie de Chat)

Format: Streaming video from NetFlix on laptop.

There are times when I wonder what the hell the Academy is thinking. Why nominate a film like A Cat in Paris for Best Animated Feature? Don’t get me wrong—this isn’t at all a case of a film not being good, but of a film that genuinely had about as much of a chance of winning that award as I did. What small readership I enjoy is pretty film-literate. My guess is that most haven’t seen this film and that a large portion haven’t heard of it. Was the nomination there to give a little publicity to a film that otherwise wouldn’t get it? I guess I can get behind that.

The most noteworthy aspect of the film is the art style. This seems to be a theme with me and animated films of late. The art is unlike anything I’ve seen in a film recently, although it bears some surface resemblance to The Secret of Kells. That surface resemblance is little more than it’s being 2D and hand drawn, though. In effect, this is impressionism seen through the lens of Keith Haring with the Squigglevision of Dr. Katz thrown in for good measure. It’s a bit disconcerting at first, but ultimately rather attractive.

Hot Millions

Format: DVD from Geneseo Public Library through interlibrary loan on laptop.

There’s something in most of us that enjoys a crime film. I don’t know if it’s because we enjoy seeing the rich and stupid get fleeced or if we enjoy seeing the clever crooks attempting to doing the fleecing. This is especially true of con games. There’s a perverse pleasure in watching the con happen and seeing all of the pieces fall into place. There’s a reason that most con game films are either overtly or are at least partly comedies. Hot Millions is overtly a comedy. It’s a very British comedy, one that requires some effort on the part of the audience to find the funny. It’s rarely laugh-out-loud and much more content to go for a smirk and chuckle.

Marcus Pendleton (Peter Ustinov) has served his time in prison for embezzling, making himself useful doing small services like taxes for the warden. His career as an embezzler came to this temporary halt thanks to his being tracked down by a computer. Rather than causing him to decide that his chosen career is too risky, Pendleton decides that his best option is to understand just enough about computers to fool them. Bluffing his way into a private club, he tracks down a lead on a computer expert named Caesar Smith (Robert Morley). Smith, approaching retirement, has always had a dream of writing the definitive book on moths of the Amazon. Pendleton convinces him to do so, and usurps the man’s identity.

Eastern Promises

Film: Eastern Promises
Format: DVD from Rockford Public Library on laptop.

I’d seen Eastern Promises before, and I wasn’t looking forward to seeing it again. That’s not because it’s a bad movie; on the contrary, it’s a great film. It’s one of the best films of David Cronenberg’s career. No, the problem here is that it’s brutal and completely realistic. There are certain things that can happen in a film that bother me terribly. I can see blood and guts without any problem, but seeing someone get his or her throat cut really bothers me. Cronenberg, with his love of body horror, doesn’t just have people get their throats cut; he makes us really look at it. This is to say nothing of the brutal fight in the bathhouse. This is the definition of a hard watch.

Eastern Promises is almost a film noir, albeit an astonishingly brutal one. It starts simply and quickly devolves into something horrible but fascinating. A young girl is taken to the hospital because she is bleeding. It turns out she is both underage and pregnant and about to give birth. Complications in the birth kill her, but the baby survives, a Jane Doe at birth. All of this is watched by Anna (Naomi Watts), a midwife who works at the hospital. She finds a diary written in Russian on the girl’s body and takes it to her uncle Stepan (Jerzy Skolimowski) to have it translated. He balks after reading a few pages, since those few pages are filled with accounts of drugs, prostitution, and rape.

Witness

Film: Witness
Format: DVD from NetFlix on laptop.

A pretty standard trope of the crime drama is the innocent witness. Have something bad happen, put someone completely unconnected in the area, and drama just happens. How do you twist things up? In the case of Witness, you make the innocent observer of the brutal crime as innocent as possible. In this case, our titular witness is a young Amish boy named Samuel (Lukas Haas). That little twist is enough to have garnered Witness eight Oscar nominations.

For what it’s worth, though, it really is an interesting premise. On his first trip to a big city, the young Amish boy and his mother Rachel (Kelly McGillis) are waiting in a train station when Samuel wanders off to the bathroom. It is there he sees a man assaulted and killed by two other men. The responding police officer is a man named John Book (Harrison Ford), who stashes his technologically backward witness and his mother at the house of his sister. The next day, he helps the boy look through mug shots with no success. During a lull, the boy wanders around the police station and finds the culprit he saw. The problem is that the murderer he saw is a police officer named McFee (Danny Glover).

The Grifters

Film: The Grifters
Format: Streaming video from NetFlix on laptop.

I really like The Grifters. I’ve always considered this to be the movie where John Cusack graduated from teen comedies (even some pretty good ones) into adult fare. The Grifters is a film that doesn’t pull any punches. It’s a brutal film. What it reminds me of more than anything is a film like The Sting, but run through a very gritty, ugly filter. This is neo-noir at its finest, featuring not one, but two femmes fatale and a host of characters, all on the take from somewhere.

Our three main characters start with no connection, but are soon united. First is Roy (John Cusack), a commission salesman who supplements his income liberally with short con games, such as showing a bartender a $20 bill and paying with a $10. He tries this once too often and gets a slug from a baseball bat in the gut. Second is Lilly (Anjelica Huston), whose job is to go to racetracks and bet heavily on longshots to reduce the odds, making the payouts far easier to handle. Third is Myra (Annette Bening) who uses sex as liberally as possible to get what she wants. It’s not too long into the film that we discover that Roy and Myra are not quite an item but are frequently in each other’s company and that Lilly is Roy’s mother.

Mona Lisa

Film: Mona Lisa
Format: Streaming video from NetFlix on laptop.

I find it difficult not to enjoy the performances of Bob Hoskins. Who Framed Roger Rabbit was (I think) my introduction to him as an actor. He always seems like the sort of guy it would be cool to know. Hoskins often plays men with a gruff exterior and a heart of gold. It’s difficult for me to not find that appealing, especially when it’s done as well as Hoskins tends to do it. That’s definitely the case with Mona Lisa, a crime/romance film that has managed to slip under my radar until today.

We start by learning a little bit about George (Hoskins). There’s tension between him and his wife, caused by George spending seven years in prison. Now that he’s out, he’s looking for some payback from Mortwell (Michael Caine), the man he used to work for. He’s given a job he doesn’t much want: driving a high-class prostitute named Simone (Cathy Tyson) to and from her appointments. There is immediate friction between the two, of course, and eventually, they come to both like and trust each other.

Learning Experience

Film: Mean Streets
Format: DVD from personal collection on laptop.

If someone told me that he or she thought Martin Scorsese is the greatest living film director, I’d be hard pressed to disagree. He may or may not be my choice, depending on the day and my mood, but he certainly wouldn’t be a bad choice for that honor. The thing about great directors, though, is they all started somewhere, and their beginnings aren’t always what we might hope. Such is the case with Scorsese and his film Mean Streets.

Charlie (Harvey Keitel) is a low-ranking member of a mob family in New York. The bulk of his job is collecting on debts for his uncle. His personal time is spent watching out for his friend Johnny Boy (Robert De Niro) and spending time with his girlfriend Teresa (Amy Robinson), Johnny Boy’s cousin. Johnny Boy is a punk and a small-time gambler who owes money to virtually every loan shark in the area. He’s also out of control of his emotions and actions most of the time. Teresa is an epileptic, which makes her something of a pariah, meaning that Charlie needs to keep their relationship quiet, since his uncle and other members of the mob don’t like her around.

Drug War

Film: Drugstore Cowboy
Format: DVD from NetFlix on laptop.

Anyone who knows me would not be shocked that my connection to the drug culture is an entirely cinematic one. My last illicit drug experience happened in the 1980s, and if I had to guess, chances are good that said experience was underage drinking. It never did a lot for me (although I was a drinker back in the day). I am substantially uncool when it comes to drugs. Sorry, folks; I come at these films with what I’ve got rather than what you might like me to be. Drugstore Cowboy is all about one aspect of the drug scene in the early 1970s. It is to drugs what Boogie Nights is to the porn industry of the same time.

The drug addicted, superstitious ex-con Bob (Matt Dillon) runs a crew of thieves who specialize in ripping off drugstores. We see this happen as the film opens. The four thieves each enter the store separately. Nadine (Heather Graham) fakes a convulsion in the middle of the store, which attracts the attention. Nadine’s boyfriend Rick (James Le Gros) tries to get more people to focus on Nadine by calling for help. Bob’s wife Dianne (Kelly Lynch) further distracts the pharmacist. While all of this happens, Bob jumps behind the counter and makes off with any drugs he can.

Blaxploitastic!

Film: Sweet Sweetback’s Baadasssss Song
Format: Video from The Magic Flashdrive on laptop.

It’s been a theme lately that the films I have watched have dealt strongly with sex. In its own way, Sweet Sweetback’s Baadasssss Song is both more sexually charged and less sexually relevant than the other films I’ve watched from The List in the past week. There’s no escaping the sex here, much of which is alleged to be real. In fact, writer/director/star Melvin van Peebles contracted gonorrhea during the course of the film and successfully got worker’s compensation for it, since he was injured on the job (and literally “on the job”).

The film contains a simple story, and one that would be duplicated, referenced, or given homage in the majority of Blaxploitation films for the length of the genre. It’s one of the first films to depict a black hero who didn’t conform to white American standards. Here was the sort of man that White America feared. He wasn’t educated, erudite, or polite. He was a hardcore brother who found himself constantly under the boot heel of the Man and who fought back the only way he could.

No Femme More Fatale

Film: The Last Seduction
Format: DVD from personal collection on laptop.

Linda Fiorentino needs to work more. I say this because her IMDB profile lists only two films after 2000 for her. I have a tendency to like Linda Fiorentino in films, and I also have a tendency to like film noir. I like noir because it’s a great style and always deals with the seamier side of life. I like Linda Fiorentino because she has a great, smoky voice. It’s what makes her such a damn good femme fatale in a film like The Last Seduction.

This is a straight-up noir, too. I suppose technically it’s a modern noir, but eliminate the few moments of nudity and the sexual content and there’s very little in this film that wouldn’t be at home with something luridly titled from 1952. All of the noir points are hit and hit hard here. We’ve got an attractive woman with a heart of stone, criminal enterprises, sex, detectives, an amateur in way over his head, and a dedicated sense of moral ambiguity. If only it had been filmed in black-and-white, it would slide into the canon of the period without question.

Movie Cool Isn't Real Cool

Film: Diva
Format: DVD from NetFlix on laptop.

Is it wrong of me to root for the bad guys? I don’t often want the evildoers to come out on top in a film, but it does happen now and then. It happens when the bad guys are particularly appealing or when the people I’m supposed to find interesting and appealing aren’t. In the case of Diva, it’s a little bit of both. I don’t find the people we spend the most time with at all interesting or likable, and one of the evil assassins happens to be played by an actor I really like. It’s a dilemma, I tell you.

Jules (Frederic Andrei) is a postal worker who delivers mail from his moped. He is also obsessed with opera diva Cynthia Hawkins (Wilhelmenia Fernandez, in one of her only non-stage appearances). Hawkins has never consented to have her voice recorded—live performance is the only way to hear her sing. So, naturally, Jules smuggles a recording device into her recital and tapes it. On the way out, he steals one of her dresses.

Off Script: Jack's Back

Film: Jack’s Back
Format: Streaming video from NetFlix on laptop.

Horror is a subjective genre. What scares one person leaves another one cold. I remember my brother telling me that The Blair Witch Project was one of the scariest films he’d ever seen while other people complained about how disappointed they were in it. To work at all, horror requires a certain amount of buy-in from the audience. If you don’t buy the premise, it’s not going to scare you, no matter what. Often, what makes the difference between a horror or thriller movie that works and one that doesn’t is how much tension it creates in the audience. Where Jack’s Back starts with a great premise, it fails in creating a great deal of tension, which ultimately makes it something of a disappointment.

In the Los Angeles of the time (late 1980s) there has been a rash of killings that almost precisely mimic the Jack the Ripper killings. The current victims match the original victims completely. The police (played by a number of people, and most relevantly by John Wesley and Chris Mulkey) aren’t dumb. This means that they are sure that the next victim will be not only a prostitute, but a pregnant prostitute.