be-bop-795-4205 Reviews

A Cold Day in Hell (2011)

a home video western

[2/10 · 2 October 2013]

This movie was apparently made by an amateur would-be filmmaker who loved watching westerns so much he tried to make one himself actually. As such it is not bad at all. Just should be kept in the family and not copied onto DVDs.

But if judged by pro standards, the movie is a disaster in almost every respect you can think of. First off, it is a disaster in casting. I saw a silent question of 'what am I doing here?" in the eyes of quite a few actors appearing on the screen. Michael Madsen is NOT in a leading role, and his repeating cameos are so unnecessary for the... plot (OK I'll put this word) it makes YOU wonder what is he doing there anyway. Actors' performance (Madsen included) is as cheesy as is the dialogue. The rule here seems to be, the smaller is the role the more it's tolerable. Silent roles go best and even show some skills. The plot is an epic disaster. Epic in a sense that there are so many lose ends and episodes leading nowhere, you soon start feeling like you're in the middle of season two of something. I actually smelled the rat as soon as 5 minutes into the film when a mass killing of children was used just to show how bad are the bad... The camera work is even more awful than everything else except for those few citations from classic examples that look meaningful thanks to the originals. And and if you're in for some beautiful scenery, look elsewhere. Some reviewers hated the music too, I'd say it is more weird than bad, and at least there's some measure of individuality to it. Directing... what the hell?..

I'd like to stress there's no evil in making amateur movies, or low budget movies, or home camera movies, or one-man movies as such. But what I'd expect from these is some originality, some sharpness, some cleverness, some acquired taste, some feeling of purpose. You don't really find it here. It's just a 'me too', and a very weak one. I sincerely hope the filmmaker is young and willing to learn. Make him a favour (and Michael Madsen too) - don't ever watch 'Cold day in hell'.

Eyes of Laura Mars (1978)

Faye shines in the stylish mystery drama devalued by its ending

[9/10 · 2 November 2010]

I watched this film mainly to see Faye Dunaway of the 1970-s, the period of her classic performances in 'Chinatown', 'Three Days of the Condor' and 'Network'. I found what I was looking for, and more. Some say this was not her best movie, I think it was one of the best. Here she takes the lead, and it is her in the first place who creates all the depth, feeling, and atmosphere to the whole thing. The rest of the crowd are not quite the same league but that's fine as they create a perfect framing for the central character. Great camera work (still camera too). Smart directing. Quality writing by James Cameron... Well, almost so... because even Faye's genius cannot save the film from the shamefully flat ending! I'm not sure who was responsible for the wholly unnatural and banal final twist, was it the writer, or the director, or probably the finance guy? In any case this sharp, stylish, thoughtful, emotionally deep, and visually beautiful mystery drama was to a great extent spoiled by some blunt bloke who apparently believed the 'people' would certainly like a regular 'trilla' with a 'hitchcock' ending to it. I wish I never saw the final 10 minutes and the tape would be just cut off instead... The bottom line is, Faye Dunaway at her best in an excellent stylish film that is admirable all the way through... yet suddenly turns into a 'me too' thriller in the last ten minutes. 9/10, and it would be 10/10 without that silly ending.

Slipstream (2007)

Probably the best surrealist movie in years

[10/10 · 25 July 2010]

This is a great surrealist movie, probably the best in years, a true gem which will become a cult classic. No wonder many people hate it: one has to open his mind to understand and enjoy it.

If you routinely switch your creative self off with the 'play' button on your DVD, you'll most probably hate "Slipstream". No peace of mind here. If you are expecting a certain plot and a regular story development from exposition to culmination, etc., you'll be disappointed.

Because this is a story of a story. A story that is not cut in stone once and forever but an open one, an unfinished one, unveiling in many different directions at the same time. It involves different scenarios, actors and real life people changing places, untimely side thoughts, personal memories, citations, flashbacks. Not an elaborate lynchian riddle, although it may remind you of one. 'SLIPSTREAM' IS ABOUT HOW OUR CREATIVE MIND WORKS, did you notice the title? It it about a process rather than about a product. A process that cannot be separated from the writer's own life (well, unless what he's doing is a calculated cynical imitation, of which we are seeing plenty) - and that can only be finalized by death. Given the writer is so old, his mind is freely tripping about past and sometimes the future. Logic and sequence are of no more weight here than his subliminal.

Some find 'clipping' visuals in movies disturbing. I would agree in most cases but not in the case of 'Slipstream'. How better can you introspect the creative process of finding the right scene and the right angle? 'He is waiting in front of a bright yellow sports car... no, acid slate green sports car... oh, may it be a violet car looking the other side?' Besides, the camera work is just very tasty and sometimes visuals are quite beautiful, the American landscapes near Vegas in particular.

Being a rich, thoughtful film of many layers, 'Slipstream' is by no means heavy going or dull - provided you do understand what it is about (see above). There are many memorable scenes (i.e. Slater's loaded gun monologue about the 'Body Snatchers') and little gems (like John Turturro shouting into his cell 'Cannot talk any more, I'm on someone's hard disk!'). Funny, sad, scary, absurd, lighthearted - the movie is true to life as a mixed bag of impressions. Think of Lynch's 'Twin Peaks', of Bunuel's 'Discreet Charm of the Bourgeoisie', some 'Fear and Loathing in Las Vegas', some Fellini's Amarcord - these are hardly direct analogies but just what comes to my mind in response to seeing 'Slipstream'.

Hopkins is predictably fantastic in his role. Slater, Turturro, Tambor deliver excellent performances. A special note must be made of Stella Arroyave who was so natural and rich I could not believe it was her debut role.

I have been a fan of Hopkins as an actor, now I'm also a fan of him as a director, and of his wife as an actress as well. A 10/10 movie without reservations. Do yourself a favour, make a break from stupidity and watch this movie with all your three eyes open.

The Bad Lieutenant: Port of Call - New Orleans (2009)

too bad it's Cage and not Leslie Nielsen

[1/10 · 19 July 2010]

One must be a big fan of Nicolas Cage to enjoy this movie. I struggle to see any other reason why people may like it at all... Scores like 7/10 that I see here at IMDb should be a marketing phenomenon.

After the very strong, full of thought and of real pain, Ferrara's 'Bad Lieutenant' starring Harvey Keitel, this new 'Bad Lieutenant' by Herzog/Cage being classified as 'drama' must be a joke! This is nothing but a campy, pointless, dull comedy, or parody if you like, employing all stamps of cheap police serials. Herzog does throw in a bit of 'Fear and Loathing' inspired puff, which apparently should hint at some open-mindness, but since there is no idea, or feeling, or mood, or anything behind it, the puff remains a puff. I cannot get rid of the impression that the creators of the 2009 movie had the only aim of replacing the seriously bad Keitel's lieutenant with something much less problematic.

The actors work is horrible in a sense that there is no sign of real life, not a single one believable character. All are flat masks, starting with Cage. The plot is reasonably twisted but again, no sign of real life, it's all kinda comic book story made up to entertain, with no reference to any believable situation. We've seen it all, and more, and better, in one of those TV series.

The bottom line: A high budget B movie. If it was Leslie Nielsen and not Cage, at least it would be funny.