I Dig Film

Movie Reviews

[jimsharpe]

Let me start out by saying that “The Laughing Woman” (AKA The Frightened Woman, AKA Femina Ridens) 1969, Directed by Piero Schivazappa is a fairly dispensable example of grade D, Italian Giallo exploitation. It’s poorly executed in the main areas of direction, acting, pacing, editing, cinematography, and overall storytelling. Giallo’s can be entertaining sometimes, but often they fail in the most basic aspects of filmmaking, and this is an example of that. Frankly, a second year film student could make a better movie than this.

Occasionally, I like to dip my toes into this genre of exploitation, especially if I haven’t seen it because there is usually some element that grabs me. Sometimes it’s the soundtrack, which this one has an excellent example of — an early experimental/pop/psych/funk scored by the excellent Stelvio Cipriani. ��

Then there are the costumes and set design and general art direction — also outstanding here. The costumes are soaked in this late sixties pop-psychedelic look. The sets vacillate between minimal, midcentury cool, to blazing, pop-art eye candy, to dark, S&M inspired bleakness. I don’t recommend this as a movie per se, but there are key moments that are fun to look at.

#films #giallo #movies #cinema #CinemaLovers

[jimsharpe]

The Nickel Ride. Directed by Robert Mulligan, 1974

It could be argued that The Nickel Ride was an early example (the earliest?) of what later came to be called neo-noir in the 1980s and 1990s. Of course, no single film can really be the source, but Robert Mulligan—an American director best known for To Kill a Mockingbird—knew a thing or two about creating atmosphere and tone. That said, The Nickel Ride is not your typical gangster flick; if anything, it feels more like a psychological drama in which the main protagonist is slowly losing control amid an atmosphere of very real alienation and paranoia. Mulligan deploys noir-like tropes to evoke the dread the character is struggling with: gritty locales, moody, dark interiors, and characters who are deeply flawed and marked by defeat.

It’s interesting that this film came out when it did, because it was clearly tapping into what was then a popular movie genre: gangsters, the Mafia, organized crime, etc. There are plenty of examples from roughly 1969 to around 1975, many of them typical exercises in violence and exaggerated characterization. The Godfather and its follow-up, The Godfather Part II, changed all that.

The Nickel Ride doesn’t come close to the sweep and depth of the first two Godfather films, but it makes up for it with atmosphere and a steadily ratcheting sense of dread and paranoia. Jason Miller (best known for his role as Father Karras in The Exorcist, and for writing That Championship Season) plays Cooper, a man who is slowly being pushed out of what once seemed a carefully balanced life—juggling his personal relationships and his “business,” which is intricately connected to the mob. When things begin to sour with the mob bosses, he coolly tries to remedy the situation, with increasing degrees of failure.

If you’re looking for the daily grind of a mob movie—complete with chase scenes and violent scenarios every ten minutes—don’t look here. Yes, there is violence and some very dark dealing, but this film is more about how Cooper gradually loses his grip on what had become a routine existence for him. This is a definite keeper.

[jimsharpe]

Movies I watched in 2025: the ones I liked [In no particular order]

Train Dreams. Dir. Clint Bentley, 2025 Based on a novella by Denis Johnson (Jesus’ Son, etc.) Joel Edgerton gives a sublime performance of a simple man struggling with loss and the hard life of a laborer in rural Pacific Northwest. Full of subtle and beautiful moments of longing, despair and rebirth, this was one of my favorites of the year.

Four Nights of a Dreamer - Robert Bresson 1971 Based on the Dostoyevsky story of the same title. A radically different take than the Italian version called “White Nights” which starred Marcello Mastroiani from 1957, directed by Luchino Visconti. Bresson’s version takes a more austere and unsentimental approach, yet still moving and revealing. Like all of Bresson’s films, spare, austere, challenging and brilliant.

Cover-Up. - Dir. Mark Obenhaus & Laura Poitras 2025 Excellent documentary about journalist Seymour Hersh and the various world defining stories that he was responsible for.

Ro.Go.Pa.G. - 1963 Directors: Jean-Luc Godard (segment "Il nuovo mondo"); Ugo Gregoretti (segment "Il pollo ruspante"); Pier Paolo Pasolini (segment "La ricotta") Roberto Rossellini (segment "Illibatezza"). This is a collection of four short films by 3 Italians and one Frenchman that were among the greatest filmmakers of the 20th century. The stories tackle different aspects of modern life, from sexual harassment to calculated consumerism. The Pasolini and Gregoretti stories are particularly damning of social, political and economic distortions. Although the stories may feel dated, they still resonate with vital critique.

The Last Stop in Yuma County - Dir. Francis Galluppi.2023 Tense crime thriller with some excellent performances. A lot is done with a low budget, a simple premise and some creative action. By the end, Hell has left its mark on Yuma County.

One Battle After Another - Dir. Paul Thomas Anderson. 2025 This is another example of Anderson’s handling of a multi-layered story, like his earlier take on Thomas Pynchon’s Inherent Vice. "One Battle" is entertaining, and fun to watch, especially on a big screen (it was initially released in VistaVision, which hasn’t been in general use for decades), but it lacks the depth that Inherent Vice delivered, along with the humor. Anderson is certainly one of America’s premier auteurs, but even the greatest filmmakers can create work that isn’t as strong as others… Still worth seeing!

Hell or High Water - Dir. David Mackenzie 2016 A crime drama involving brothers trying to correct a past wrong by robbing a series of banks to pay off a family debt and save the family ranch. Of course, things don’t go as planned. Watch the scene in the diner with Jeff Bridges and the waitress — one of the most riveting and funny performances by a relatively unknown supporting actor.

Becoming - Led Zeppelin. Dir. Bernard MacMahon 2025 A worthy document about the rise of one of the most successful rock bands in history. Well done, and generally avoids many of the fawning cliches found in band documentaries.

Black Bag - Dir. Steven Soderberg 2025 Espionage and intrigue with a tight plot that hits with twists and just the right amount of mystery and violence. It should have gotten more attention than it did IMO, with excellent performances by Michael Fassbender and Cate Blanchett.

Eden - Dir. Ron Howard, 2024. Wow, A Ron Howard movie I actually liked! Amazing! Some excellent performances here, including Jude Law and Sydney Sweeney. Based on real people and events, it’s a fantastic story about evading modern existence for a more basic and primitive one on a remote island, which turns out not to be as Idyllic as was hoped for. There may be some hope for Opie yet!

The Narrow Margin - Dir. Richard Fleischer & William Cameron Menzies 1952 A tense, spare thriller, with outstanding performances and the most economic and creative use of space and staging in a low-budget noir; it kicks up well above it’s modest production.

Bastards - Dir. Claire Denis 2013 This is a decidedly dark and unforgiving revenge thriller. Claire Denis is not your typical filmmaker who gives you a neat and tidy story that makes for a feel good experience. Instead, she delivers a story that gets progressively more convoluted and finally shocking in its revelations. Well acted by Chiara Mastroiani (yes, that’s Marcello’s daughter) and Vincent Lindon; with outstanding cinematography by Agnes Godard (No slouch behind the camera: she shot Wings of Desire, among many others).

Going Places - Dir. Bertrand Blier 1974 Not an easy film to champion or even watch. A lot of the attitudes and socially accepted behavior would not fly at all today: It’s nihilistic, sexist and brutal all at once. It’s a very “cinematic” depiction of two losers on a wild ride before everything goes to shit; a sort of demented road movie. Along the way they do whatever they want to whomever they want, the law, morals, whatever — be damned. It’s an odd movie to be sure, one that won’t find many supporters. Oh, and it more or less put Gérard Depardieu on the map as a French male lead. Best performances here are by the women: Jeanne Moreau is riveting as an ex-con on a last bender. Miou-Miou as a ditzy kidnapped girl with little argument for her kidnapping. And there is a very young Isabelle Huppert (she was 21 at the time) making an early big screen appearance.

Household Saints - Dir. Nancy Savoca, 1993. I had wanted to see this film for many years and for whatever reason it kept eluding me — until 2025. Catholic mysticism vs. modern American “progress” in a working class Italian/American family: what does it mean to be in a “state of grace” is a question that comes up in this sweet and funny movie. Great performances by Lili Taylor, Vincent D’Onofrio and Tracy Ullman.

Nouvelle Vague - Dir. Richard Linklater, 2025 Linklater is a true student of film history; this film shows just how much he loves the medium, its process and the filmmakers that made a serious impact at a specific moment in the late 1950s and into the 1960s. It’s about the French “New Wave” and the artists that redefined what a film could be, and along the way changed the way films were made, as well as the way we see them. It’s a veritable love letter to that special time and the one specific film that made an impact at that time: “Breathless” and its iconoclastic filmmaker Jean-Luc Godard.

[jimsharpe]

Movie double and triple features I've day-dreamed about:

1. The Big Sleep (1946 version) & Inherent Vice

2. The Graduate & The Heartbreak Kid (1972 version)

3. The Conversation & Blow Out & Blow-Up

4. Easy Rider & Electra Glide in Blue

5. I Vitelloni & American Graffiti & Diner

6. La Dolce Vita & The Great Beauty

7. Teorema & Down & Out in Beverly Hills

8. Mulholland Drive & I Knew Her Well

[jimsharpe]

Recent screening:.

Nouvelle Vague. Dir. Richard Linklater

Nouvelle Vague may not be for everyone, but it’s clearly a labor of love and respect. It’s a love letter to Godard, Jean Seberg, Jean-Paul Belmondo, and all the great French filmmakers associated with the French New Wave. Linklater even goes so far as to name them directly on screen as they appear in various scenarios — they’re all there: Truffaut, Chabrol, Rivette, Resnais, Varda, Melville, Bresson, and others.

Nouvelle Vague is, on the surface, an account of the making of Jean-Luc Godard’s first feature film, Breathless, and of the French New Wave movement that became an international phenomenon in the 1960s. The film follows Godard as he transitions from being a film critic at Cahiers du Cinéma to making his debut feature. Linklater is obviously a fan of this period in French cinema — more than that, it’s clear how deeply it influenced him.

There’s a wonderful scene in which we see Godard and his cinematographer shooting a hotel sequence with Jean-Paul Belmondo. Working with limited resources, Raoul Coutard, the cinematographer, sits in a wheelchair to create a tracking shot — a poor filmmaker’s makeshift dolly. We watch them shoot the scene, and then see Linklater’s camera mimic the same movement, following the action as a kind of tribute to their ingenuity and to the passion and dedication it takes to make a film, even with the most basic tools.

As for Godard himself, Linklater takes special care in how he presents the auteur: challenging, aloof, enigmatic, poetic, contemplative — with a mischievous smile at the ready, a cigarette always burning (as if to honor his noir heroes of American cinema), dark glasses, and always a perfect quotation for every moment. “Art is either plagiarism or revolution” (Gauguin) appears and could easily serve as a subtitle for the film. Or one of Godard’s own famous lines: “All you need for a movie is a girl and a gun.” Some may see this as caricature, but depicting a complex person like Godard in under 2 hours and spanning a couple of years time requires a sort of shorthand. I think Linklater got it without sacrificing a genuine portrayal of a real person. Plus, he's charming and funny too.

Godard was a student of cinema, always striving to create something new — a new way of seeing, a new language, a breaking of the rules. He did all that and more. In that sense, he was both revolutionary and plagiarist — and unapologetic about it.

Linklater’s direction doesn’t slavishly imitate Godard’s techniques, style, or approach; instead, it channels his influence and spirit. Making a film about filmmaking and its creators can be tricky — it can easily tip into hero worship or cliché — but Linklater avoids that by balancing history, process, and character in equal measure, while also keeping it fun and engaging as a film in its own right. He pays homage to the period’s style in clever ways: it’s shot in black and white and uses an early aspect ratio. The actors do an outstanding job of inhabiting Seberg and Belmondo in their iconic roles, and the whole film captures the sense of excitement at a moment when everything in cinema was in the midst of a revolution.

Nouvelle Vague is a fresh and affectionate look at an important period in narrative filmmaking, but don’t let that stop you from seeing it. It’s fun, exhilarating, and full of love for movies — a celebration of the moment when a few French film nerds got up, made some noise, and changed the way films were made and seen.

If you love movies the way Linklater does — and the way I do — then you may want to see Nouvelle Vague.

#filmreview #movies #Godard #jeanlucgodard #CinemaLovers #cinemacafe #nouvellevague #New_wave #breathless @cinema @film

[jimsharpe]

“The Last Stop in Yuma County” - Directed by Francis Galluppi (2024)

Francis Galluppi’s The Last Stop in Yuma County is a neo-noir thriller that channels a bit of the Coen Brothers’ flair for dark humor and escalating tension. Set almost entirely in a sunbaked Arizona diner, the film transforms its limited setting into a pressure cooker of suspense, where every glance and gesture carries weight.

Cinematographer Mac Fisken employs static shots and natural lighting to craft a visually engrossing atmosphere, reminiscent of classic Westerns. The interplay of light and shadow, combined with deliberate camera movements, heightens a sense of impending doom.

The ensemble cast delivers compelling performances, with Jim Cummings portraying a severely uptight knife salesman, Jocelin Donahue as the composed waitress Charlotte, and Richard Brake and Nicholas Logan as the menacing bank robbers. Each actor brings depth to their roles, contributing to the film’s tense, character-driven narrative.

Galluppi’s confident direction and sharp writing make The Last Stop in Yuma County a standout debut, offering a suspenseful and stylistically rich ride that leaves a lasting impression.

[jimsharpe]

“The Narrow Margin” - Directed by Richard Fleischer + William Cameron Menzies (1952)

The Narrow Margin is a masterclass in economical filmmaking, a lean, taut B-movie that punches well above its class. The film wastes no time in delivering a suspenseful, claustrophobic story set almost entirely on a moving train. Directed by Richard Fleischer (with uncredited additions by Production designer William Cameron Menzies), The Narrow Margin is tight, innovative and efficient, using confined spaces and hand-held cinematography to heighten tension and amplify paranoia.

The dialogue crackles with hard-boiled wit, true to the best noir traditions. It’s sharp, snappy, and never overindulgent, revealing character through rhythm and innuendo rather than exposition. Charles McGraw gives a standout performance as the grizzled cop with a gravelly voice and a growing sense of moral conflict. Marie Windsor brings depth and danger to her role, handling the film’s twists with a kind of dignified composure.

At just over an hour, The Narrow Margin is a textbook example of how to do more with less—short on budget but rich in craft and ideas.

[jimsharpe]

"The Outfit" - Directed by John Flynn (1973)

John Flynn's adaptation of Richard Stark's novel delivers a lean crime thriller that embodies 1970s hardboiled cinema, in the same vein as “Prime Cut” “the Getaway” “Point Blank” or “Straight Time”. Robert Duvall is outstanding as Earl Macklin, an ex-con methodically hunting the mob bosses who killed his brother.

The film's simplicity is its strength. Flynn forgoes flashy technique for tight, streamlined storytelling as Macklin and his partner (Joe Don Baker) systematically hit mob operations to reach crime boss Mailer (Robert Ryan in one of his final roles).

Duvall's understated intensity drives this movie, supported by strong performances from Karen Black and Timothy Carey. While lacking the grandeur of contemporaries like "The Godfather," this stripped-down crime film delivers with brutal efficiency and deserves greater recognition. Recommended.

[jimsharpe]

Nashville - Directed by Robert Altman (1975)

Robert Altman’s Nashville takes a sprawling look at American culture through the lens of the country music scene. With 24 characters and intersecting storylines, it captures the chaos, ambition, and contradictions of 1970s America.

Altman’s signature style—overlapping dialogue, loose structure, and naturalistic performances—gives the film a direct, lived-in feel. The ensemble cast is strong, and the music, performed by the actors themselves, adds authenticity. It’s long and intentionally messy, but it’s also sharp, funny, and deeply moving — one of Altman’s masterpieces. Outstanding!

[jimsharpe]

Black Bag - Directed by Steven Soderbergh (2025)

Steven Soderbergh’s Black Bag is a sleek, well crafted spy thriller that’s both thought-provoking and entertaining. Michael Fassbender and Cate Blanchett deliver compelling performances as George and Kathryn, a married couple working as high-level, British intelligence agents. The film’s taut 93-minute runtime is packed with sharp dialogue and palpable tension, particularly during a pivotal dinner party scene that unravels layers of deception. Soderbergh’s direction, and a script by David Koepp, crafts a narrative that cleverly explores themes of loyalty and fidelity amid high stakes espionage. Black Bag stands out as a sophisticated addition to the spy thriller, offering a fresh take that prioritizes psychological tension and character over the more typical action approach. Recommended!

[jimsharpe]

Going Places - Directed by Bertrand Blier (1974)

Bertrand Blier’s Going Places is a provocative, chaotic road movie following two petty, amoral, goofballs (a young Gérard Depardieu and Patrick Dewaere) as they wander through a series of reckless, often disturbing misadventures and outright criminal behavior.

The film is anarchic, confrontational, cynical and definitely not PC—a mix of dark comedy and social critique. By today’s standards, this film would likely not be produced or released, given the sex scenes with an underage girl and the generally abusive tendency toward most of the female characters. Beneath the shock value however, there’s an odd, disarming humanity to these characters. For all their selfishness and cruelty, Blier allows glimpses of vulnerability and tenderness that complicate the picture. It’s messy, uncomfortable, cringy and divisive—but also bold and oddly moving in moments—just like life. I think it’s excellent, but if you’re easily offended by violence and politically incorrect sexual behavior, then maybe pass on this one.

[jimsharpe]

Becoming Led Zeppelin - Directed by Bernard MacMahon (2025)

Becoming Led Zeppelin takes a clear, streamlined, chronological approach to the band’s formation and early rise. With first-hand interviews from Page, Plant, and Jones, (Bonham, who died in 1980, is represented by a previously unreleased interview with clips) plus tons of archival footage and performance clips, it gives a clear sense of how the band came together and why they hit so hard so fast.

The film is strongest when it focuses on the music—the influences, the studio work, and the live shows. It’s less interested in the personal drama or darker chapters, which makes the story feel somewhat one-sided. But as a portrait of the band’s creative drive and momentum, it works.

It’s not the definitive Zeppelin doc, but it’s a strong, well-crafted origin story. Definitely a must for fans.

[jimsharpe]

Bastards

Directed by Claire Denis (2013)

Claire Denis’s Bastards is an unsettling neo-noir that unfolds like a slow, gnawing nightmare. Loosely structured and emotionally charged, it follows a man pulled into a web of family trauma, abuse, and corporate corruption after his brother-in-law’s suicide.

Denis tells the story in fragments, favoring mood over clarity. The cinematography is moody and claustrophobic, the performances—especially from Vincent Lindon and Chiara Mastroianni—are understated but deeply affecting. There’s an overall sense of dread and fatalism that hangs over every scene.

This isn’t a film that hands you answers. It’s cryptic, morally murky, and emotionally intense. However, if you’re willing to lean into its disorientation, it’s a powerful, if somewhat disturbing experience.

[jimsharpe]

Thoughts on a few more films I saw recently...

Anora. Directed by Sean Baker. 2024

In Anora, Sean Baker delivers a unique mix of screwball comedy and emotional drama. Mikey Madison (in a stand-out performance) plays Anora, a young Brooklyn sex worker who impulsively marries the son of a Russian oligarch. What starts out as a transactional arrangement and then a romantic moment of madness made real, soon turns into a tense struggle when his powerful family intervenes, threatening to annul the marriage.

While the first half of the film feels light, sexy and comedic, the tone shifts in the second half, revealing the emotional toll of Anora's situation. This transition could easily feel uneven, but Madison's portrayal keeps the narrative grounded. She’s excellent at balancing Anora’s comedic, carefree moments with the raw vulnerability and strength required in her situation. This approach reminds me a bit of Sixties Italian Comic/dramas like I knew her Well, Il Sorpasso and Mafioso among others, a type of film which appears as a comedy, but has a darker side to reveal.

Madison brings depth, subtlety and complexity to this role, capturing both the humor and heartbreak of her character's life. Almost to the very end there is a level of humor imbued in almost every scene, until reality catches Anora — and us — in the wink of an eye. Madison’s performance is the heart of the film, making Anora’s transformation both believable and moving. This movie is a keeper!

Nosferatu. Directed by Robert Eggers. 2024

We went to see Nosferatu in a packed cinema and it was glorious! It’s been a while since I’ve been to see a mainstream movie where the theater was essentially sold out. So happy to see that can still happen.

So, this version of Nosferatu I must say is a bonafide masterpiece. It’s well executed on every level. The actors all bring their best work, with Lily-Rose Depp giving an amazing performance. Bill Skarsgård is astounding as Count Orlok/Nosferatu, with the sound design/treatment around his voice giving his performance a tangible degree of creepiness and horror. The cinematography alone (by Jarin Blaschke) deserves an academy award for its beauty and unique tone and style.

This Nosferatu is essentially a remake of the original 1922 film by Murnau, and remains true to the original, while at the same time, taking it to another level. It goes beyond the usual expectations by adding some extreme moments that are rarely touched upon in films. For example, when Friedrich Harding’s wife and children are killed (another shocker since children are often spared) by Orlock/Nosferatu, he does something that is beyond the usual mourning husband you might see in a typical film. It’s not pretty and it’s shocking, but it takes you to a different place within the horror genre where you might not normally go — and this ratchets up the creepiness and discomfort way more than you’d typically have in a movie like this.

See this movie in a theater if you can, because if you wait to watch it on a TV, no matter how big your LCD screen is, it won’t be able to deliver the nuances of the images you will see on a large cinema screen. This is an excellent movie.

Manchester by the Sea. Directed by Kenneth Lonergan. 2016

I missed this film when it was released 9 years ago, but was reminded of it through a film podcast I was recently listening to. As I watched the film I realized that I had initially missed out on a very well made and written film. Casey Affleck deservedly won an academy award for his role in this movie about a man who is mourning a death in his family, but is emotionally distant. Michelle Williams as Lee’s (Affleck) estranged ex-wife also gives an emotionally powerful performance.

As the film unfolds, we slowly discover the reasons for his difficult connections to those around him — which are profoundly painful and disturbing. To complicate his life, he is tasked with being the guardian of his recently deceased brother’s son. The writing, acting, cinematography and editing of this film are executed with incredible restraint and nuance. The editing lends a somewhat disorienting flow to the course of events, mirroring the chaos and flashes of memory that can upturn ones life during a major life crisis. It’s sometimes slow, but methodical in its delivery of events, and worth the effort. This is an excellent, slice-of-life type of film that you don’t see often done this well. Definitely worth repeated viewing and excellent.

[jimsharpe]

Recent Screenings/Re-Screenings

The last couple of weeks have led me down a particular path with a handful of movies that delve into the darker aspects of human behavior and activity. Not that I was actively seeking it, but perhaps it's a sign of the times. Here are six films I either watched for the first time or revisited after a second—or maybe third—viewing:

Manhunter (1986) Directed by Michael Mann This movie stars William Petersen in the lead, one of the most puzzling casting choices for any role, let alone as a leading man. For reasons that elude me, Petersen appeared in a couple of highly regarded films in the 1980s—this one and To Live and Die in L.A.—before gaining fame with a long stint on CSI. Personally, I find him completely unconvincing: his performances feel overacted, transparent, and lacking in depth.

Mann's career took off early with his first feature, Thief. That film certainly had plenty of swagger and style, but it also benefited from an actor (James Caan) with the chops to anchor a story so heavily reliant on visuals and atmosphere. Manhunter exemplifies Michael Mann's typical approach: stylized visuals, a moody atmosphere, and a tightly curated soundtrack. While some might describe this as "cinematic," I find his approach forced and overly self-conscious. Even strong supporting performances by Brian Cox and Tom Noonan can't redeem it for me. At times, it's unintentionally laughable. I'd skip it—but feel free to judge for yourself.

Happiness (1998) Directed by Todd Solondz I hadn't seen this since it first hit theaters in 1998, but I vividly remembered its radical, warped, and deeply unsettling nature. Even more remarkable is that Solondz managed to secure funding for such a project. This is easily one of the most misanthropic, malignant, and perverse depictions of humanity ever put on film.

The ensemble cast takes on challenging roles with excellent performances, particularly the late Philip Seymour Hoffman and Dylan Baker. Their characters are sick, twisted, and almost unforgivable, yet their portrayals are rich and disturbingly real.

This film delves into the lives of deeply flawed individuals—pedophiles, sexual deviants, pretentious poseurs, and even a murderer—all portrayed in a stark, matter-of-fact manner. It's not an easy watch; you might feel compelled to take a long, hot shower afterward. Yet, its brilliance lies in its execution and its excellent performances, making the discomfort worthwhile. Happiness is arguably Solondz's masterpiece, though it's certainly not for the faint of heart.

Dark Horse (2011) Directed by Todd Solondz Following a string of solid films in the 2000s, Solondz delivered Dark Horse, his last feature before an extended hiatus. While it doesn't have the same impact as Happiness or Welcome to the Dollhouse, it still offers a compelling exploration of human failings and poor life choices.

The film follows Abe (Jordan Gelber), a grown man-child overshadowed by his father (Christopher Walken), infantilized by his mother (Mia Farrow), and secretly admired by a coworker (Donna Murphy). Abe's unlikely relationship with a semi-catatonic Selma Blair leads to a spiral of failures, culminating in catastrophic consequences.

The film relentlessly subjects its protagonist to ridicule and humiliation, making it a challenging watch. It's yet another exploration of human weakness and failure by Solondz. While it lacks the punch of Happiness, it's still worth a shot.

Candy Mountain (1987) Directed by Robert Frank and Rudy Wurlitzer I'm a sucker for road movies, and Candy Mountain offers a gritty, unconventional take on the genre. On a rewatch, I found myself appreciating its story and atmosphere more than when I first saw it in the late 1980s.

Kevin J. O'Connor plays Julius, a young musician who’s somewhat lost and naive, but also ambitious and willing to stick out his neck to get ahead. The problem I have is that the actor’s performance often comes across as forced and unnatural, even awkward at times.

With a stronger actor in the lead, the film could have felt more authentic and effectively conveyed the character's struggles—both internal and external. Fortunately, the supporting cast shines: cameos from Tom Waits, Dr. John, Joe Strummer, and Rockets Redglare bring vibrancy and depth to the film.

Visually and thematically, the film tries to capture the tension between an older, accomplished master and a younger, aimless musician. While flawed, it's an interesting, worthwhile watch.

They Shoot Horses, Don't They? (1969) Directed by Sydney Pollack Sydney Pollack's career includes several outstanding films, such as Tootsie, Three Days of the Condor, and Absence of Malice. They Shoot Horses, Don't They? is among his bleakest works, set during a Depression-era dance marathon. The surrounding locale feels like a relic of a lost world—empty, desolate, cold, and dark—imbuing the interior hall with an almost claustrophobic atmosphere.

Jane Fonda gives an unforgettable performance as Gloria, a disillusioned and deeply cynical woman fighting to win $1,500 in a grueling last-couple-standing contest. Michael Sarrazin, Susanna York, and Gig Young also deliver outstanding performances.

This is a profoundly sad film, unflinchingly exposing the despair and desolation of its characters. The ending is devastating. It's tough to watch, but it's an essential piece of cinema.

Oh, Canada (2024) Directed by Paul Schrader

Paul Schrader has been on a creative streak over the past eight years, producing small, introspective films that dive deep into the psyches of flawed protagonists. Oh, Canada continues this tradition.

The story centers on Leo Fife (Richard Gere), a dying, reclusive filmmaker whose career is the subject of a documentary crew's latest project. However, Fife hijacks the narrative, turning it into a confessional about his youth, marked by cowardice and broken relationships. Does this absolve his poor life choices in the end? It’s an open question…

One standout scene features Fife recounting how he dodged the draft during the 1960s by pretending to be gay, only to be called a "coward" by the officer in charge. This moment reflects a deeper cowardice—one that defines Fife's life choices. Oh, Canada is the kind of small, character-driven film that appeals to adult audiences seeking more than mere entertainment. It's understated yet deeply resonant. While not his best, it aligns closely with Schrader's best work.

[jimsharpe]

Recent movie screenings/Re-viewings:

U-Turn. Directed by Oliver Stone, 1997 Sean Penn lands in Superior, Arizona while en route to Los Angeles to pay off a large debt. Once in town, various characters that he interacts with will be an ongoing hinderance verging on despair. There are some absurd elements nearing Lynch territory here, but somewhat more comical. It’s also highly stylized which at times can be annoyingly obvious, but the story keeps you wondering how it’s all going to end. Very much in the vein of the ‘90s Neo-noir. I enjoyed it.

High Sierra. Raoul Walsh, 1941 Humphrey Bogart appeared in this the same year he appeared in The Maltese Falcon and one year before Casablanca. High Sierra was also co-written by his pal and director John Huston. Co-starring the great Ida Lupino, this is an excellent early noir worthy of repeated viewings. Recommended.

Nowhere. Directed by Alberto Pintó. 2023 This is a story of survival that goes to eleven more or less from the start. The odds are against the main character, played by an incredible Anna Castillo who carries this film with amazing intensity. There are some over-the-top elements here (somewhat hokey set design and overall premise) that you just have to accept for the story — suspend disbelief and you’ll enjoy this white knuckle ride. Good.

The Hot Spot. Directed by Dennis Hopper. 1990 When I first came across this film on a streaming platform I almost passed on it based solely on the fact that it’s main star is Don Johnson. However, the slow burn of this movie (and the fact that Hopper directed it) got to me. It’s very much in that 80s/90s “Neo-noir” approach, with a lot of elements of classic noir at play: the moody, smart-but flawed, not-so-innocent protagonist who is seduced by the femme fatale (a fun and wild performance by Virginia Madsen, worthy of Gloria Graham in her prime!), a flimsy bank robbery, the other real love interest with the truly innocent but damaged “good” girl (played by a young Jennifer Connelly), etc. This is probably Hopper’s last effort that shows any of his better qualities as a director: Here, he taps into a lot of classic noir tropes that make this film engaging, while Don Johnson gives what is arguably one of his best performances. Good.

The Rules of Attraction. Directed by Roger Avary, 2002 Based on the book by Bret Easton Ellis, it is a harsh take on privileged youth living out a fantasy existence (much like his earlier effort “Less than Zero”). It all takes place at an upper class New England college. The level of depravity, drug use, casual if unsatisfying sex, and narcissism are dialed up as far as is tolerable. You might ask why would I, or should I care about these spoiled brats? The main protagonist is certainly an asshole, completely self-absorbed, and yet oddly melancholic on some level. It’s an interesting study of this sort of person, and if you’re of a certain age and have been to college in the United States in the past 50 years or so, you’re likely to have come across people like this who seem to float above the fray of existence, without a care about the outside world and it’s myriad problems. It’s an interesting examination of a particular class of people that will eventually become the leaders and manipulators of our culture and society at large. Worth a look.

Blitz, Directed by Steve McQueen. 2024 Set in London during the period of the “blitz”, this film by the English filmmaker Steve McQueen is not a direct study of the Blitz, but rather told through the eyes of one family trying to survive it. The mother (played by Saoirse Ronan), her nine year old boy George, whose African father was disappeared, and her father (played by punk rocker Paul Weller). It’s beautifully shot by French cinematographer York Le Saux, with great art direction and set design, you get a real sense of place and time. McQueen makes interesting films that dig deep into the lives of people, sometimes dealing with extreme circumstances or duress (Hunger, 12 Years a Slave, Shame and his truly excellent “Small Axe” mini series from 2020). Worth a look.

[jimsharpe]

Recent movie screenings/Re-viewings:

MAC. Directed by John Turturro. 1992 Turturro’s directorial debut is an intense look at the struggles of 3 working class, Italian-American brothers. They work together, love each other and fight intensely over the way their lives should be. It’s great to watch these fantastic actors move through this film and Turturro brings his usual intensity to his role. Recommended.

Rounders. Directed by John Dahl. 1998 Starring Matt Damon, Edward Norton, Gretchen Mol and Martin Landau. Gambling leads to debts — serious debts — with the wrong people. Damon and Norton give excellent performances of two hardcore gamblers trying to get themselves out of trouble with somewhat different perspectives. It’s entertaining and well done, beautifully shot by cinematographer Jean-Yves Escoffier giving New York City a sort of noir-in-color look.

Human Desire. Directed by Fritz Lang. 1954 Starring the great Gloria Graham and Glenn Ford. Loosely based on Émile Zola's 1890 novel La Bête Humaine — Lang’s noir take is a sort of alternate of Double Indemnity, but with a different twist. Graham is especially delicious to watch in this as she maneuvers the men in her life. Great cinematography by Burnett Guffey (In a lonely Place, From Here to Eternity, Bonnie & Clyde, The Sniper, etc.) Excellent.

The Sniper. Directed by Edward Dmytryk. 1952. A psychotic serial killer is on the loose and the cops try to figure him out to catch him. An early example of this now typical story, 14 years before Charles Whitman got up in a tower and started picking off random people with a rifle.

Hard Times. Directed by Walter Hill. 1975 Charles Bronson’s minimalist approach as a quiet street fighter during the depression era is an excellent take on the social, political and economic struggles of those times. James Coburn delivers a brash and fun counterpoint to all the misery. Overall an excellent debut for director Walter Hill.

The Assignment. Directed by Walter Hill. 2017 Hill goes out on a limb with yet another story of violent revenge, only this one has an unusual and extreme twist. Sigourney Weaver gives a typically excellent performance as a highly intelligent but twisted doctor performing illegal, underground body modification surgery. Not for the squeamish, entertaining, good action, but ultimately hollow…

Heretic. Directed by Scott Beck & Bryan Woods. 2024 With a strong distaste for religion in general, outstanding performances by the 3 main actors, excellent cinematography by Chung-hoon Chung (Old Boy!); this horror flick is definitely entertaining. It starts out with an atypical build-up to an expected second act that’s the meat of horror films. In the end, it feels a bit thin and too calculated to really make a lasting impact for me, but as I say, it is entertaining.