Few artists have built a brand as recognisable and far reaching as Rob Zombie. Musician, director, voice actor… It takes an intense commitment to establish and maintain a character like his. And Zombie’s latest long player, Venomous Rat Regeneration Vendor is a testament to that commitment.
So it turns out, they don’t make men like they used to. If you’re a dude under 60, Gregory Peck and Robert Mitchum have done craps manlier than you and every bloke you know. The second these two badasses come face to face, you know it’ll be an epic match up. And even better, that initial standoff happens almost immediately. Which is one of the many strong points if Cape Fear, it’s not here to mess around.
Peck plays lawyer Sam Bowden, the man of morals who eight years ago gave testimony that sealed the conviction of Mitchum’s Max Cady, a sociopath who takes whatever and hurts whoever he wants, never once stopping to even consider what gives him the right to do so. After a stretch in the big house, Mitchum approaches Peck in the courthouse carpark and makess his vengeful intentions pretty clear from the get go. This movie seriously has no intention of starting slow, it’s out of the gates and racing from the get go.
Straight away, Peck calls in a favour from his police chief friend who’s more than happy to enact little gross misuse of power and start harassing Mitchum. But Mitchum’s smart, he’s always just on the right side of the law, meaning Peck is more and more seen as the antagonist. Soon, Peck is compromising is morals and integrity in an attempt to keep up with Mitchum’s increased harassment.
What’s that you say? You’re not overwhelmed by the engine oil musked manliness of a Peck / Mitchum combo? “Fuck you”, says Cape Fear as it does a one handed push up. “How about I throw in some Telly Sevalas?”, it growls, taking a belt of scotch and repressing its emotions. Oh yeah, you better believe this movie doubles down on the masculinity and transforms the Peck / Mitchum dude-duo into a Peck / Mitchum / Sevalas holy trinity of testosterone when Peck hires Sevalas’ PI, Charlie Sievers.
But it’s more than just the balls out blokiness of these three going head to head to (not yet bald Sevalas) head. The movie is sure to throw in a little passive aggressive misogyny too, like when Peck tells his teenage daughter, “It’s a mistake to teach women how to tell time. They always hold it against you.”
By starting at full throttle and only getting more intense from there, Cape Fear really is one of the most effective thrillers I’ve ever seen. And even though the ending is ultimately pretty predictable the way it gets there more than makes up for it. It even manages to work in a pretty interesting message about the importance of the law, even when you don’t like the people it’s protecting. This is summed up by Police Chief Mark Dutton (Mark Balsam), “Either we have too many laws, or not enough”.
It doesn’t take long for The Dillinger Escape Plan to make their intensions clear on One of Us is the Killer. Just six seconds into opening track, and first single from the album, Prancer and the vocals of Greg Puciatio announce they’re not interested in taking any prisoners.
Before watching Ordinary People, the directorial debut form Robert Redford, all I knew was it was the movie that beat Raging BuIl at the 1980 Oscars. Not just for Best Picture, but also beating Scorsese for Best Director. This has gone down as one of the great cock-ups in Oscar history, possibly only outweighed a decade later when Scorsese was again beaten. This time it was his undisputed masterpiece Goodfellas, losing to the Kevin Costner wank-fest Dances With Wolves. It must have taken the entire Academy working together to make a mistake that big.
So, does Ordinary People deserve to be remembered for more than just ruing Martin Scorsese’s night in March 1981? The answer is… Sort of?
First things first, this thing is out and out Oscar bait.
Story involving dead kids and/or suicide?… Check.
Someone famous for comedy having a red hot crack at a bit of drama?… Check.
A collection of just some of the most miserable people you’ve ever seen?… Check.
A no bullshit psychiatrist who tells it like it is?… You better believe it.
But all clichés aside, it is definitely worth watching, even if it’s just as a showcase of some pretty great actors doping some pretty great acting. Donald Sutherland is the dad and most sympathetic character in the movie. Mary Tyler Moore is the mother and afore mentioned comedienne trying her hand at drama. Timothy Hutton is the suicidal son and Judd Hirsch is the bullshitless shrink. Hirsch is also reason enough to watch Ordinary People. Every scene he’s in is a relief from what preceded and gives you a little something to help get through what’s to follow.
As a director, it doesn’t seem like Redford was too interesting in reinventing the medium with his first at bat. It’s a downbeat story and is shot that way. He does work with some great locations though, letting his natural Illinois surroundings and weather do the heavy lifting in creating and sustaining just the right (depressing) mood.
All this sounds like I hated Ordinary People, and while I have no plans to ever watch it again, I definitely didn’t hate it. The story is a little on the nose and designed for maximum heart string pullery, but the performances really do make it worth two hours of your time.
Like anything involving Zooey Decshanel, previous albums from She & Him have bordered on being just a little too precious. And while they well and truly plummeted over that brink with 2011’s A Very She & Him Christmas, they’re back on the right side of the line with Volume 3.
If, like me, you’ve been kept up at night wondering, “What does Scott Bakula look like moustachioed and shirtless?”, the answer is waiting for you in Steven Soderbergh’s Behind the Candelabra… And the answer is glorious. Liberace is a celebrity I’ve only ever known as a sketch show punch line, so going in, I was more interested in Behind the Candelabra as director Steven Soderbergh’s supposed final film before retiring from the medium, than I was in its subject. Which lead to an awesome surprise… Liberace is an amazingly interesting, tragic and compelling character.
The story of a years long affair between Liberace (Michael Douglas) and Scott Thorson (Matt Damon), Behind the Candelabra is at its core, a cautionary tale built on a famous Liberace quote, “Too much of a good thing is wonderful”. The movie wastes no time getting to the relationship. Racing through their initial introduction and quickly moving the story along to Damon’s live-in status with Douglas, it also wastes no time mapping out what’s to come. No sooner has Damon become comfortable with his lavish new surroundings, than the houseboy who’s seen it all is letting Damon know he’s just the latest in a long line of inevitably replaceable playthings. But before the unavoidable comedown, the first half of the film focuses on two people very much in love, enjoying a life of extravagance and indulgence. The second half gives us the flips side, focusing on two people falling (and eventually completely fallen) out of love, in a lot of ways caused by that life of extravagance and indulgence.
Douglas and Damon are both note perfect in the leading roles, but they’re almost outshone by some of the supporting players. The afore mentioned Bakula is clearing having fun every second he’s on screen and Dan Aykroyd is in form rarely seen these days as Liberace’s manager, that makes you almost forget Blues Brothers 2000… Almost. But the MVP of Behind the Candelabra is, without a doubt Rob Lowe, as the plastic surgeon and distributor of his personally developed and fully pharmacological “California Diet” (patent pending). If I was told Behind the Candelabra 2: The Legend of Liberace’s Gold was in production and consisted of nothing more than Lowe’s stretched face and dead doll’s eyes staring blankly into the distance, I’d be in the cinema opening day.
Will this be Soderbergh’s swan song? For a filmmaker so prolific, he’s had to compete with himself for an Oscar, I’d be very surprised if it turns out that way. But if it is, Behind the Candelabra is an impressive, lavish and more than satisfying end to an eclectic, sometimes brilliant (sometimes, not so brilliant) career. He really has gone out in style. Gouache, tacky, golden jewel encrusted grand piano, over the top style.
One great little added bonus, I finally get the “I wish my brother George was here” joke from the Warner Brothers short Three Little Bops, that has puzzled me my entire life.