Sunday, January 14, 2018

Opening Friday: Small Town Crime


From my 3.21.17 Variety review: “It looks like John Hawkes is carving a niche for himself on the seedier streets of neo-noir. Two years ago, the impressively protean character actor essayed a low-rent shamus who discovers himself — and finds himself wanting — while searching for a missing young woman in Dennis Hauck’s intriguingly time-scrambled Too Late. Now he’s back on the case as another scuffed-up gumshoe in Small Town Crime, a hardboiled melodrama with a heart of tarnished gold. Written and directed by sibling filmmakers Ian and Eshom Nelms with equal measures of respect and skepticism for pulp conventions, the movie comes across as neither pastiche nor parody, but rather as a seriously down-and-dirty crime story with a savage sense of humor. The just-complicated-enough plot could pass for a lesser-known narrative of Elmore Leonard. At the center of it all, Hawkes stands tall — or at least he tries to, even when his character is staggering drunkenly, or passing out altogether.

Small Town Crime will be available starting 1.19.18 in theatrical and VOD release.

Sunday, January 07, 2018

And the HFCS winner is: Lady Bird


OK, I had promised myself I would resist any and all temptation to make bad puns about the movie’s title, but… Well, to quote my late father’s favorite author, Oscar Wilde: I can resist anything but temptation. So…

Writer-director Greta Gerwig’s Lady Bird continued to feather its nest as a dominant awards-season presence Saturday evening when it received no fewer than three awards    Best Picture, Best Screenplay and Best Director — at the 11th annual Houston Film Critics Society Awards.

Among the other winners:

ACTRESS — Sally Hawkins, The Shape of Water.

ACTOR — James Franco, The Disaster Artist.

SUPPORTING ACTRESS — Allison Janney, I, Tonya.

SUPPORTING ACTOR — Sam Rockwell, Three Billboards Outside Ebbing, Missouri.

ORIGINAL SCORE — Alexander Desplat, The Shape of Water.

ORIGINAL SONG — “Remember Me,” Coco.

CINEMATOGRAPHY — Roger Deakins, Blade Runner 2049.

FOREIGN LANGUAGE FILM — Thelma.

ANIMATED FILM — Coco.

VISUAL EFFECTS — Blade Runner 2049.

MOVIE POSTER — The Shape of Water.

TEXAS INDEPENDENT FILM — A Ghost Story.

TEXAS INDEPENDENT FILM VISIONARY AWARD — The Secret Life of Lance Letscher, directed by Sandra Adair.

HFCS HUMANITARIAN AWARD — Jim “Mattress Mac” McIngvale.

OUTSTANDING CONTRIBUTION TO CINEMA — Q-Fest.


It was my distinct honor and privilege to offer a HFCS Lifetime Achievement Award tribute to Harry Dean Stanton. But wait, there’s more: When I was introduced prior to that presentation, I was identified as “Variety film critic and stable genius Joe Leydon.” So, again, I could not resist: When I later announced that the winner of the Best Documentary award was Brett Morgen’s Jane, I told the awards show audience at MATCH: “I look forward to this film’s premiere on The Gorilla Channel...”


Tuesday, January 02, 2018

Saturday Night Feature: Remembering Harry Dean Stanton at the HFCS Awards


It will be my privilege to present a tribute to the late, great Harry Dean Stanton this Saturday, Jan. 6, at the 11th annual Houston Film Critics Society Movie Awards. But don’t worry: There will be more to the program than just my humble attempt to honor a legend.

The awards show — set to start at 7 pm at the Midtown Arts and Theater Center Houston (MATCH) in Downtown H-Town — will be highlighted by the presentation of awards for excellence in 2017 movies. Nominees in the Best Picture category include: The Big Sick, Call Me By Your Name, Dunkirk, The Florida Project, Get Out, Lady Bird, Logan, The Post, The Shape of Water and Three Billboards Outside Ebbing, Missouri.

But wait, there’s more: There will be silent auctions of movie memorabilia, extended displays of clips from nominated films, and a tribute to local furniture store mogul and philanthropist Jim McIngvale (who, no kidding, produced the 1991 action-comedy Sidekicks starring Chuck Norris and Jonathan Brandis).

“Each year, the Houston Film Critics Society follows a thorough screening process to identify the best of the year’s films,” says HFCS president Joshua Starnes. “Our annual awards ceremony lets us honor the best as we invite the community to celebrate the magic of film.”

You can find a full list of HFCS nominations here, more detail on the awards show program here, and ticket ordering information here. And yes, I will be signing autographs for a nominal fee. (OK, I made up that last part.)

Monday, January 01, 2018

Yes, Colossal is No. 1 on My Top 10 of 2017


To begin with my standard disclaimer: This may be my list of the Top 10 Movies of 2017 – but it’s not necessarily a rundown of the year’s 10 Best Movies. Because, quite frankly, I haven’t seen every single movie released anywhere in the US during the past 12 months. But this most certainly is a list of my favorite films to open in US theaters in 2017. These are, of course, purely arbitrary and totally subjective choices. And I’ll freely admit that, a decade or so hence, I might look back on the following lineup and want to make additions or deletions. (Maybe I’ll even get over my traditionalist hang-ups, and toss a Netflix-only title or two into the mix.) At this point in time, however, I can honestly state these are the 2017 releases that impressed me most. And best. So there. And before anyone asks about any films that are not on this list, let me offer this blanket response: Those films may indeed be noteworthy. But I liked these more.

Colossal. For me, writer-director Nacho Vigalondo’s audacious genre mashup was the perfect movie for 2017, a year bound to be forever remembered as the moment in time when the tide started to turn for women who have been intimidated, subjugated and otherwise humiliated (verbally or physically) for far too long. Better still, it’s a splendidly imaginative and exceptionally well-acted entertainment, with Anne Hathaway perfectly cast as a self-destructive and psychologically wounded writer who finally finds the strength to save herself — after fortuitously mind-melding with a humongous kaiju — and Jason Sudeikis boldly cast against type as a deceptively ingratiating under-achiever who’s unveiled as a control-freakish monster. As I said: The perfect movie for 2017, and maybe even better as the gateway to the year of Time’s Up.

Lucky. To repeat what I wrote in my Variety review after the 2017 SXSW premiere of John Carroll Lynch’s directorial debut: “Everything Harry Dean Stanton has done in his career, and his life, has brought him to his moment of triumph in Lucky, an unassumingly wonderful little film about nothing in particular and everything that’s important.” Stanton gives the performance of a lifetime in this life-affirming dramedy about a proud eccentric facing death. (Ironically, the much admired character actor passed away, at age 91, just weeks before the movie’s theatrical release.) And he gets strong support from an ensemble supporting cast that includes David Lynch as the distraught owner of a runaway tortoise, James Darren as a putatively reformed ne’er-do-well, and Beth Grant as the gregarious but not infinitely patient owner of the title character’s favorite watering hole.

Wind River. Howard Hawks famously defined a good movie as one that has three good scenes and no bad ones. Taylor Sheridan’s furiously mournful yet ultimately hopeful drama about violent crime and curel punishment in a wintery stretch of Wyoming is a great movie with at least three great scenes, two of them featuring extended conversations between Jeremy Renner as a soul-wounded animal tracker pressed into service as a manhunter, and Gil Birmingham as the grieving father of the young Native American woman whose murder has sparked the manhunt. The third scene? Take your pick: Either an edgy standoff between two heavily armed groups that builds slowly, mercilessly, to chaotic mayhem, or the brutally efficient forced-feeding of just desserts during the hugely satisfying climax.

Kedi. Yes, Ceyda Torun’s magically graceful and effortlessly engaging documentary about free-roaming felines in Istanbul is the greatest cat video ever made. You have a problem with that?

Truman. Cesc Gay’s richly amusing and deeply affecting film about two friends (Ricardo Darin of The Secret in the Eyes and Javier Camara of Narcos and The Young Pope) who enjoy a final reunion under the shadow of impending death made only a fleeting appearance in US theaters in 2017, nearly two years after I reviewed the Spanish-produced dramedy at the 2015 Toronto Film Festival. On the other hand: For what it’s worth, it’s one of the very few 2017 release to score a 100 percent Fresh rating on Rotten Tomatoes. So don’t just take my word for it: This is an unjustly overlooked gem that is more than worth the effort to seek it out.

I, Tonya. Equal parts inspired faux documentary and incisive character study, Craig Gillespie’s casually astonishing satirical drama is an altogether worthy showcase for Margot Robbie’s gold-medal-worthy performance of notorious ice skater Tonya Harding as a world-class athlete who was never allowed to completely transcend her white-trash roots. And speaking of golden prizes: Here’s hoping Allison Janney winds up in the winner’s circle on Oscar night for her fearless performance as Tonya’s spectacularly appalling mother.

The Big Sick. Arguably the most warm-hearted and explosively funny movie ever made about generation gaps, cultural clashes, and medically induced comas, director Michael Showalter’s Sundance Film Festival favorite is a marvelously messy love story crossed with an arrested-adolescent coming-of-age narrative, shrewdly and sensitively written by real-life marrieds Kumail Nanjiani and Emily Gordon, and skillfully performed  by Nanjiani and Zoe Kazan as lovers driven apart by his feckless indecision and reunited by her life-threatening illness. Extra added attractions: Scene-stealers Holly Hunter and Ray Romano as the ailing woman’s seemingly mismatched parents, and Zenobia Shroff and Anupam Kher as the immature fellow’s traditional Muslim immigrant mom and dad.

Last Flag Flying. Richard Linklater’s “spiritual sequel” (or whatever) to 1973’s The Last Detail — which, like this film, was based on a novel by co-scriptwriter Darryl Ponicsan — works beautifully on its own terms as a profanely funny and affectingly melancholy dramedy about three Vietnam War vets (a dead-solid-perfect trio of Steve Carell, Bryan Cranston, and Laurence Fishburne) who are reunited, whether they want to be or not, when one of them is informed that his son has been killed in the Iraq War. Better still, and more so than any other film I can think of since Alexander Payne’s  Nebraska (2013), it ends precisely when it should.

The Post. I remain convinced that Steven Spielberg’s Lincoln (2012), a fleet and gripping drama about the backroom arm-twisting and deal-making that led to passage of the 13th Amendment to the US Constitution, actually was a metaphor for President Barack Obama’s campaign to win passage for the Affordable Care Act. (And not just because co-star Hal Holbrook looked so much like an aged Ted Kennedy, a strong supporter of the legislation.) Likewise, I am convinced that Spielberg’s The Post, a similarly swift-paced and engrossingly suspenseful film about the Washington Post’s 1971 decision to print The Pentagon Papers, actually is an inspiring exhortation for watchdog journalism in our Age of Trump. As critic David Thomson wrote in The New Republic about Spielberg’s earlier film: “It’s very good, but that’s not the point. It’s necessary.

Lady Bird. The amazing Saoirse Ronan is by turns endearing and annoying and selfish and sympathetic and all kinds of other amazing things that she absolutely has to be as the self-named title character in writer-director Greta Gerwig’s free-form yet tightly disciplined coming-of-age comedy-drama. Set in Sacramento, California during her 2002-03 senior year at a Catholic high school, the film charts Lady Bird’s sometimes warm, sometimes rocky and sometimes surprising interactions with, among others, her passive-aggressive mom (Laurie Metcalf), her mild-mannered and newly unemployed father (Tracy Letts), the best friend she briefly betrays (Beanie Feldstein), the caddish boyfriend who’s altogether unworthy of claiming her virginity (Timothée Chalamet), and Sister Sarah Joan (Lois Smith), the principal who knows Lady Bird almost as well as we come to know her by the end of Gerwig’s irresistibly embraceable movie.

Thursday, December 28, 2017

Happy 122nd Birthday to Cinema!


On December 28, 1895, cinema in projected form was presented for the first time to a paying audience by two French brothers, Auguste and Louis Lumiere (pictured above), owners of a photographic studio in Lyons. They went to Paris to demonstrate their cinématographe -- the name they'd given their combination camera and projector -- by showcasing short films they had shot with their hand-cranked innovation.

According to legend: At the Grand Café at 14 Boulevard des Capucines, a man stood outside the building all day on December 28, handing out programs to passers-by. But cold weather kept many people from stopping. As a result, only 33 tickets were sold for the first show.

When the lights went down that evening in a makeshift theater in the basement of the Grand Café, a white screen was lit up with a photographic projection showing the doors of the Lumiere factory in Lyon. Without warning, the factory doors were flung open, releasing a stream of workers... and, wonder of wonders, everything moved. The audience was stunned.

This first film was entitled La sortie de l'usine Lumière à Lyon (Workers Leaving the Lumière Factory). Ten more short scenes followed, each reel roughly 17 meters in length, including Baby's Dinner (kinda-sorta the first home movie by proud parents, later echoed by Spike Lee in Lumiere & Company) and The Sprinkler Sprinkled (arguably the first slapstick comedy, involving a man, his garden hose and a practical joker).

Within a week, with no advertising but word of mouth, more than 2,000 spectators visited the Grand Café each day, each paying the admission price of one franc. The crowds were so huge, police had to be called in to maintain order. The age of cinema had begun. Vive le cinema.

Wednesday, November 29, 2017

Angela Lansbury to online lynch mob: Piss off


In response to scolds and trolls who criticized and/or misrepresented her earlier statements about sexual harassment and abuse of women, Angela Lansbury -- who, at 92, clearly has run out of fucks to give -- issued the following statement tonight:

"There is no excuse whatsoever for men to harass women in an abusive sexual manner.  And, I am devastated that anyone should deem me capable of thinking otherwise.

"Those who have known the quality of my work and the many public statements I have made over the course of my life, must know, that I am a strong supporter of Women's Rights.

"Lastly, I would like to add that I am troubled by how quickly and brutishly some have taken my comments out of context and attempted to blame my generation, my age, or my mindset, without having read the entirety of what I said."

So there.

Monday, July 31, 2017

Happy Trails to Sam Shepard


In my other life, I am a cowboy. Well, OK, I am a contributing editor for Cowboys & Indians magazine. Over on the magazine's website, I have paid tribute to the prodigiously talented Sam Shepard. And yes, my obit contains respectful mention of Wim Wenders' criminally under-rated Don't Come Knocking, a film that showcases one Shepard's all-time finest performances.

Au revoir, Jeanne Moreau


As a tribute to the great Jeanne Moreau, who passed away Monday in Paris at age 89, I offer this profile I wrote on the occasion of her appearance at the 1989 French Film Festival.

Speak her name, Jeanne Moreau, and the film buffs in your circle will recall the movies, the moments, the magic that made her the thinking man’s sex symbol of ‘60s French cinema.

Those lips: full, sensuous, ripe with provocative challenge, curving into a smile that lets you know she sees through all your clever poses. Those eyes: bright, knowing, focusing into a piercing stare that swerves like a gun turret, finds you, grabs you and won't let you go.

She conveys a promise — and a threat. If you're man enough.

And if you're a woman, you can only marvel at how, in an era before feminism was cool, she was always very liberated.

In Louis Malle’s The Lovers (1958), Jeanne Moreau is a bored, provincial housewife who abandons her husband and child for her new lover.

In Roger Vadim’s modern-dress version of Les Liaisons Dangereuses (1960), she is a master of erotic gamesmanship, bemused by the blandishments of spurned lovers, absolutely certain of her hold on her equally sportive husband. (When he slips away, to fall in love with another woman, her fury is quick, and her sting is deep.)

In Francois Truffaut's The Bride Wore Black (1968), she is a relentless avenging angel, systematically seducing and killing the men who accidentally murdered her husband on their wedding day.

And in Truffaut's Jules and Jim (1962) — arguably her greatest, certainly her most famous film — she is Catherine, the enigmatic beauty who demands life and love on her own terms, who rebels against bourgeois convention, who ends a long-running ménage a trois by killing herself and her lover.

During the past four decades, Moreau has made more than 80 films, working with such esteemed directors as Luis Bunuel, Orson Welles, Michelangelo Antonioni, Elia Kazan and Joseph Losey. Now, at age 61, she remains very much in demand, for starring and supporting roles, on the French stage as well as in international screen.

Still, for cineastes of a certain age, she will always be associated, almost to the exclusion of her other credits, with her work for the bold French directors of the nouvelle vague (new wave), film critics who began to create their own cinema in the late 1950s.

It was only appropriate, therefore, that Moreau was honored last month with a lifetime achievement award at the first French Film Festival in Sarasota, Fla. “She, more than any of the others, was the single star of the nouvelle vague,” said critic Molly Haskell, the festival’s artistic director.

To celebrate Moreau's career, the festival presented a newly restored print of Jules and Jim. On the afternoon before the screening, however, Moreau conceded she was reluctant to attend: Truffaut, who died five years ago, was a close friend, and the movie remains one of her favorites. “I'm torn between seeing the film,” she said, “and being ashamed of crying, or being a coward, and not seeing it.”

Jeanne Moreau is not a coward. Even though the movie brought back bittersweet memories — and, indeed, even though her mother passed away a few days before the Florida festival — she attended the screening. And if she had tears to shed, she waited until she was away from the prying eyes of hundreds of admiring moviegoers. For the audience, and for interviewers, Moreau had only smiles.

She almost laughed out loud when reminded that, not so very long ago, she was dubbed “the new Bette Davis” by an awestruck film critic.

“To tell the truth,” Moreau said in her familiar, gravelly purr, “when I began, I was told that I was ‘a new Bette Davis,’ and that got on my nerves. I mean, really.

“But many years later, through a common friend in LA, I was told, ‘Well, Bette Davis would like to know you at last. After all these years, she heard that there’s a new Bette Davis, and it's getting on her nerves.’ So he arranged a lunch that we had, at the Brown Derby, the two of us, and I loved being with her. That was about 15 years ago. And after that, each time she came to Paris, or each time I was in New York or LA and she was free, we would meet. I admire her very, very much. And she's so American, and I'm so French — that was so funny.”

Moreau smiled when I told her of a close friend who has long identified with Catherine, her character in Jules and Jim. She inquired, mischievously: “But she never killed herself with a lover, eh?” Well, no, not really. Not yet, at least. “Well,” she replied. “That's a good thing.”

Actually, Moreau claimed, most people don’t remember the murder-suicide that ends Jules and Jim. “I think the main idea people have [about the film] is, how can a woman manage to be in love with two men? And very funnily, the idea of the last tragedy, the death, is erased in the memory of people. They don’t talk about the suicide, and this crime — that's gone off. And what’s left is that a woman tried to make it with two men.

“Students who have seen the film, young girls and young boys, are interested in that very special relationship.

“But, you know, women of my age, or younger, never approach me concerning
Jules and Jim. When they write to me, or when they speak to me, it’s more in relation to life in general. How do you manage? How did you make it? How is it that you're still there? How is it that you're working and you seem to enjoy it?”

The daughter of a French restaurant manager and his Anglo-Irish wife, Moreau was 15 years old when she saw her first play, Jean Anouilh's Antigone, and immediately informed her parents that she wanted to become an actress. There was something of a theatrical tradition in the family — her mother once danced at the Folies-Bergere. Even so, her father reacted badly to Moreau’s announcement: He slapped her soundly.

Undeterred, Moreau began taking courses at the Conservatoire theater school in Paris. By 20, she was the youngest performing member of the Comedie-Francaise. A few years later, she electrified Parisian theatergoers with her scorching portrayal of Maggie in the first French staging of Cat on a Hot Tin Roof. Movies, inevitably, followed.

In addition to her work with the nouvelle vague crowd, Moreau has starred in several English-language movies — The Victors, The Yellow Rolls-RoyceMonte Walsh, The Great Catherine — and directed two French film dramas, La Lumiere and The Adolescent. She is extremely proud of working in three different films directed by Orson Welles: The Trial, based on the Franz Kafka novel; Falstaff, a drama drawn from Shakespeare’s plays; and a never-completed version of a novel recently filmed, in Australia, as a thriller titled Dead Calm. “Freedom and tyranny,” she said. “Orson could be very good at both.”

During the past decade, Moreau has been more active on French stage, earning rave reviews as a maid looking back at her eventful life in Le Recit de la Servante, and, more recently, as an elderly and overweight matchmaker in a revival of a 15th-century Spanish play, La Celestine. (Next year, she may direct the French stage translation of Steel Magnolias.) After surviving a brief, stormy marriage to American filmmaker William Friedkin (The French Connection), Moreau lives alone in a Paris apartment, where she reads scripts, entertains offers, and looks forward, never backward, to her life and her work.

The movies continue to attract her interest. After Sarasota, she was off to Moscow to star in Anna Karamazoff, directed by political dissident Rustam Khamdamov. “He’s a young man who had been in hiding. Because of the new politics of Gorbachev, he has been allowed to make his film… And they asked me to do the main part, even though I’m French. Because this man, in hiding, has been dreaming about me. About pictures of me in magazines. And he saw some films. And he’s been dreaming about me doing his film. Isn’t that funny?”

When Anna Karamazoff wraps, Moreau will return to France for La Femme Fardee, based on the novel by Francoise Sagan. Next year, she will travel to Australia for a major role in Until the End of the World, a futuristic love story directed by Wim Wenders (Paris, Texas).

So, tell us, Jeanne Moreau: How is it that you’re still working and you seem to enjoy it?

“Maybe because I didn't think of my life in terms of career. Very early, when I became successful with the New Wave, I’d been making films for 10 years. And I felt the danger, instinctively. I didn’t want to be part of the star system, you know, where they say, ‘Oh, you represent so much, and that means you should get such-and-such amount of money.’ That frightened me, really.

“So I moved away. I said no to lots of things. And I lived very freely. I traveled, I fell in love, I did nothing, I read — surrounded by people who were saying, ‘Oh, you’re destroying your career.’ But I didn’t want any career.

“And now, that's my strength. Because I do not belong to any category. I’m out. So that’s total freedom. And because of that, I don't worry. And not worrying, I’ve kept a very childish attitude toward being an actress: I enjoy it, immensely. And I have a great curiosity. And as soon as something crazy comes my way, like that Soviet director who says, ‘I can't pay you, you have to buy your plane ticket, and you have to come over, the only thing I’m sure of is that you’re going to have food and a good bed’ — well, I go. You see?


“I have learned to look at my life, and see it’s incredible how unexpected things come up. I’m really a lucky person.”

Wednesday, July 19, 2017

Must-see screenings: Sir Alec Guinness in The Ladykillers and The Lavender Hill Mob at MFAH


This weekend at the Museum of Fine Arts, Houston, the retrospective tribute to Sir Alec Guinness continues apace with screenings of The Ladykillers (7 pm Friday) and The Lavender Hill Mob (7 pm Saturday). Here's what I wrote about films back in 2000 on the occasion of an earlier MFAH tribute to the late, great British actor.

The Ladykillers (1956): Try to imagine a hybrid of Humphrey Bogart and Dr. Caligari, and you're ready for Guinness's weirdly stylish turn as a would-be criminal mastermind in this mischievously sardonic farce. Outfitted with enormous teeth -- even bigger than Matt Dillon's choppers in There's Something About Mary -- Guinness plays Professor Marcus, a vaguely creepy fellow who presents himself as an amateur musician when he rents an upstairs room in the shabbily genteel home of Louisa Wilberforce (Katie Johnson), a seemingly harmless old lady. Marcus hopes to use the room, and the old lady, while conducting a heist with a motley crew of co-conspirators. (Chief among the cohorts: Peter Sellers as a chubby-faced teddy boy and Herbert Lom, who would later play straight man to Sellers's Inspector Clouseau, as an excitable tough guy.) But the tables are turned -- repeatedly, hilariously -- as the improbably resilient Ms. Wilberforce sparks a chain reaction of comic mayhem. The Ladykillers may start out as a conventional comedy about dumb crooks and cute geezers, but the humor turns progressively harsher and darker as the thieves fall out and the body count rises. Trivia note: After directing Guinness in this movie and The Man in the White Suit, Alexander Mackendrick moved to America to make the deliciously cynical Sweet Smell of Success.

The Lavender Hill Mob (1951): A whimsical caper comedy with a touch of magic and a sprinkling of melancholy, The Lavender Hill Mob finds Guinness in one of his very best roles. As Mr. Holland, a mousy, middle-aged Bank of England employee whose innocuous manner is a brilliant disguise for his criminal intent, Guinness eloquently expresses the dreamy daredevil that lurks in the heart of every anonymous wage slave. With the help of a souvenir manufacturer (Stanley Holloway) and a couple of small-time crooks (veteran British character actors Sidney James and Alfie Bass), Holland swipes a gold bullion shipment, then smuggles the booty to France in the form of miniature Eiffel Towers. The humor is mostly low-key and character-driven under Charles Crichton's direction. At the end, though, there's a dandy high-speed car chase that's fresher and funnier than many similar scenes in more recent comedies. Pay close attention during the opening scene -- yes, that really is a young Audrey Hepburn who briefly dallies with Guinness.

Sunday, July 16, 2017

Recalling a time when Martin Landau recalled his experiences with Steven Spielberg, Peter Falk, naughty fan mail and, of course, Space: 1999



I had the pleasure of chatting with the late, great Martin Landau on several occasions — including a 1996 TV junket for The Adventures of Pinocchio, a movie he made just two years after his Oscar-winning performance as Bela Lugosi in Ed Wood. (As I wrote in my Variety review: “Martin Landau plays Geppetto, the aging puppet-maker who becomes a father for the first time after his latest creation magically springs to life. It’s a role that could have been played with broad gestures, cheap sentiment and other easy acting tricks. It is much to Landau’s credit that he takes a more restrained approach, in a largely successful attempt to make the character seem more endearingly poignant than boisterously amusing.”) But when I heard of his passing Saturday at age 89, the encounter I remembered most vividly was a 1980 interview I did with him for The Dallas Morning News, where I was employed at the time, when he came to Big D to promote a movie called The Last Word.

Mind you, there was nothing very memorable about the movie itself. (Truth to tell, I had to double check my files a few minutes ago to ascertain that I had actually seen it.) But I do recall that Landau was engagingly gracious and entertainingly loquacious, and that our free-wheeling tête-à-tête took some interesting detours. Like, when he talked about what he described as several instances of “bad timing” in the years following his departure from the Mission: Impossible TV series.

To quote my Dallas Morning News article:

“‘I made a movie with Peter Falk and Jason Robards called Operation Snafu… I thought it was hilarious when I read [the script]. But it came out the same year as M*A*S*H and Kelly’s Heroes, two other war comedies. I thought we were going to be first, but we wound up third.’

“As a result, Landau noted, the comedy… received a pitifully limited release, and was quickly dropped into the television market.

“Two years later, Landau and [his then-wife Barbara Bain] teamed for Savage, a 90-minute pilot film for a projected series about an investigative reporter.

“’That was before Watergate, before 60 Minutes,’” he said. ‘Nobody wanted a series about an investigative reporter. They were afraid of the show’

Ironically, the failed pilot was an early effort of a director whose time had not yet come — Steven Spielberg.

“’I had to fight to get Spielberg,’ Landau said. ‘At the time, he hadn’t done a whole lot. He was 23 at the time. It was right after he did Duel, but he had a reputation of going over budget.

“‘He did go over budget [on Savage]. But he’s always been talented. 1941 was one of his few less-than-successful ventures.’ Landau smiled wanly and added, ‘Savage was the other.’”

“In 1975, Landau and his wife teamed again for a slightly more successful television venture. Space: 1999, a production of Britain’s flamboyant Sir Lew Grade, featured Landau as the commander of a moon base where nuclear wastes were stored. When the waste material exploded, the moon — and some 300 people stationed on the base — went spinning off into outer space.

“The show, which depicted the misadventures of the people on the prowling planet, attracted a sizable audience in the United States, and an even greater following in Europe. After two years, however, the producer opted to pull the plug on the program when its ratings dipped slightly.

“‘Lew Grade got into motion pictures,’ Landau said. “The $7 million it would have taken to continue our show was what he needed for the advertising budget for Voyage of the Damned, The Eagle Has Landed and The Cassandra Crossing.’

“So Grade decided to end production on Space: 1999 — just a matter of months before Star Wars hit the world’s movie screens and kicked off a brand new science-fiction craze. Had Space: 1999 been able to hold out for a bit longer, it conceivably could have capitalized on the Star Wars mania and vastly improved its ratings.

“Even so, the series has been thriving in reruns. ‘There’s a whole cult around it,’ Landau said. ‘Not as big as the Star Trek cult, but still a cult… I get all kinds of things in the mail. Fan mail. Marriage letters. Divorce letters — things that read, “Divorce that broad and marry me.” Sometimes you even get pictures that are a little indecent — but that’s very rare.’

“‘At science fiction conventions, outtakes from the show, single frames of film, go for $10. I went to a convention in Columbus, Ohio — and 10,000 people showed up. A uniform I wore went there for something like $400. I thought, “My God. I wish I had kept my suits.” But it was too late.’”

Undeterred, Martin Landau pressed on, racking up an astonishing number of TV credits over the next three decades. He earned Academy Award nominations for his pitch-perfect performances in Francis Coppola’s Tucker: The Man and His Dream (1988) and Woody Allen’s Crimes and Misdemeanors (1989) — and finally took home the Best Supporting Actor prize for Tim Burton’s Ed Wood (1994). 

Obviously, there are other credits on his resume that bespoke of a working actor’s incessant need to pay his rent and maintain his visibility. But consider this: Landau’s resume ran the gamut from Alfred Hitchcock’s North By Northwest to Entourage (both the HBO series and the movie spin-off). He appeared as a regular or guest star on many TV series, and even managed to make a strong impression in something as otherwise unremarkable as The Evidence, a short-lived 2006 police procedural that, I confess, I continued to watch (just to watch Landau) even after ABC consigned it to ignominious burn-off on Saturday nights.

In short, he had a hell of a run, because he was a hell of an actor. And while I can’t claim we were close friends, I strongly suspect, based on my experiences on those occasions when our paths crossed, that he was a hell of a nice guy. Even when his timing may have been off.



My tribute to George Romero and a Night to remember


For a variety of reasons, I have never seen any of the sequels to George Romero’s original Night of the Living Dead — well, unless you want to count Dan O’Bannon’s gruesomely amusing The Return of the Living Dead (1985) — perhaps I’ve always considered it a tough act to follow. Or, more likely, because I don’t think any audience response to any sequel (or remake) — at any time, anywhere — could top the one I noted, and shared, when I first saw Romero’s classic 1968 horror opus during my college days.

While I was attending Loyola University in New Orleans back in the 1970s, I attended an evening screening in a large auditorium on campus. The crowd (including me) was impressed and attentive. Indeed, at least one of my fellow students may have been a little too impressed and attentive.

The first time a group of the shambling undead appeared on screen, a shriek rang out from the darkness: “Don’t let them get me! Don’t let them get me!” At first, I figured someone was goofing off, or encouraging some kind of audience participation. (Little did I know that, only a couple years later, such behavior would become commonplace at midnight screenings of The Rocky Horror Picture Show.) But then it happened a second time. Louder. And a third time. Louder still. By that point, it was quite obvious that whoever was screaming was totally, unabashedly, nearly-scared-to-death terrified.

After the third outburst, two people — friends? faculty? security personnel? I never found out — more or less lifted this frightened fellow from his seat and carried him (gently, as far as I could tell) out of the auditorium. But not before the guy had managed to make some of us (again, including me) even more uneasy while watching Romero’s masterwork.

Maybe his fear was a natural reaction, maybe it was, ahem, chemically enhanced. But, either way, that fear obviously was contagious. And how do I know this? Well, here’s the thing: None of the other people in the audience laughed when he screamed the second and third times. Come to think of it, as I recall, no one told him to shut the hell up, either.

George Romero passed away Sunday at age 77. He often is credited with starting the zombie movie genre – even though no one in his Night of the Living Dead ever actually uses the term “zombie” to describe the reanimated corpses that makes such nuisances of themselves. I’ll leave it up to others whether he deserves that acknowledgement. All I can say is, all these years later, I smile whenever I think of the night he enabled me to experience something that was, you know, really scary.


Friday, July 07, 2017

Spider-Fan! Spider-Fan! I'm your friendly neighborhood Spider-Fan!


And that's why my editors at Variety asked me to write this rundown of all six Spider-Man movies, ranking them worst to last. Naturally, the new Spider-Man: Homecoming figures into the mix.

Monday, July 03, 2017

One mo' time: Celebrating Independence Day with Bill Pullman


I am an immigrant's son, and I get paid to go to the movies. Truly, this is the land of opportunity. And so, to celebrate tomorrow's birthday of our great nation, I once again present the ridiculously corny yet tremendously affecting speech given by a beleaguered U.S. President (potently played by Bill Pullman) to rally a final push against invading extraterrestrials in Independence Day. Let freedom ring.

(And yes, I appreciate the fact that this fictional president probably would be more effective than the current Commander in Chief in uniting us against a foreign threat.)


Saturday, July 01, 2017

Mom goes time-tripping in Chinese-produced thriller Reset


The Korean filmmaker known as Chang does the time warp again, and again, in the Chinese-produced sci-fi thriller Reset, a film best described as the fair-to-middling realization of a cleverer-than-average high concept. The MacGuffin here is a “data module” that contains info about technology capable of sending people way back into the past — make that back 110 minutes or so — through artificial wormholes leading to parallel universes. But that’s merely the impetus for repeated time-jumps by research physicist Xia Tang (Yang Mi), whose five-year-old son is kidnapped by bad guys demanding ownership of the aforementioned module, and who must go to extremes on two different occasions when her little boy is killed twice.

Reset — which won Best Picture and Best Actress prizes last April at the WordFest/Houston International Film Festival — opened Friday in theatrical and digital release. You can read the rest of my Variety review here.

TCM celebrates July 4 with 1776. And so should you.

Ten years ago this week, I rediscovered 1776 on Turner Classic Movies. At 10:15 pm ET/ 9:15 pm CT Tuesday, July 4, you, too, can re-evaluate (or see for the very first time) on TCM a restored version of the movie -- one of the last Old Hollywood adaptations of a hit Broadway musical. And take it from me: Even if, like me, you were none too impressed by it back in the day, you'll find it was substantially improved by the restoration of scenes and songs that had been deleted by producer  Jack Warner  before its ’72 theatrical release. (No less a notable than then-President Richard Nixon "requested" the deletion of a tune that tweaked conservatives.)


As I noted in 2007: "1776 still is something less than an unadulterated masterwork. (Although director Peter H. Hunt manages some impressive wide-screen compositions, he’s a tad too literal-minded in some aspects of his stage-to-screen translation.) Taken as a whole, however, the movie is wonderfully entertaining – and, better still, undeniably inspiring -- as it offers an intelligently yet playfully romanticized account of events leading to the signing of the Declaration of Independence. But wait, there’s more: The cast includes most of the major players from the original 1969 Broadway ensemble – including William Daniels (John Adams), Howard Da Silva (Benjamin Franklin) and Ken Howard (Thomas Jefferson), all at their finest – along with an absolutely luminescent Blythe Danner (who was pregnant with Gwyneth Paltrow during filming) as Martha Jefferson. And the heated debates over individual rights and tyrannical rulers are, alas, every bit as relevant today as in 1776 or 1972." Or 2017.

More pertinent than ever: The reluctant agreement by Adams, Franklin and Jefferson to delete a key paragraph from their original draft of the Declaration
    

Saturday, June 24, 2017

Ranking all 13 Michael Bay movies



Yes, I viewed them all. And I actually liked some of them. You can read my Variety countdown here. (Spoiler: No. 1 is not a Transformers movie.)

Friday, June 16, 2017

Way down below the ocean: 47 Meters Down


Recounting the basic plot of 47 Meters Down doesn’t do the film many favors, since any detailed synopsis likely will make it sound like one of those cheesy Jaws knock-offs that served as drive-in fodder in the 1970s. Indeed, it’s ridiculously easy to imagine the sort of breathless taglines and lurid poster art that might have been used decades ago to hard-sell this scenario about two vacationing sisters who are stranded in a shark-cage way below the waves while hungry Great Whites loom large all around them. (Lynn Lowry and Claudia Jennings are Shark Bait!’) But credit must be given where it is due: Director Johannes Roberts’ mostly underwater thriller is a compact and sturdily crafted B-movie that generates enough scares and suspense to qualify as — well, maybe not a pleasant surprise, but a reasonably entertaining one.

You can read the rest of my Variety review here

Good-bye to John G. Avildsen, who scored a knockout by directing Rocky


It’s hail and farewell to John G. Avildsen, the Oscar-winning director of Rocky, who passed away Friday in Los Angeles.
To be sure, Avildsen had several other notable films on his resume — including  Joe (1970), his discomfortingly prescient drama (propelled by Peter Boyle’s career-launching lead performance) about the murderous rage of the so-called Silent Majority; Save the Tiger (1973), a powerful portrait of a morally compromised businessman, for which Jack Lemmon received his own Oscar as Best Actor; and, of course, all three of the original Karate Kid movies.
But Rocky is the career-highlight achievement most likely to give Avildsen a fair shot at immortality. More than four decades after the scrappy small-budget 1976 movie about a never-made-it boxer came from out of nowhere to score Oscar gold, top box-office charts and rouse audiences to full-throated cheers, it continues to entertain movie fans – and influence moviemakers – with the undiminished force of an enduring pop-culture phenomenon.

To fully appreciate its vast and enduring popularity, consider this: A decade or so ago, Sylvester Stallone told me about an amazing image he remembered from early news coverage of the Iraq War. “I saw some Iraqi in some town hold up a flag with Rocky on it,” he said. “And I thought, ‘You gotta be kidding me! Where did he have this flag for the past 20 years? Under his bed?’
“I mean, what was he thinking? ‘Oh, yeah, the day they come here to free us, I’m gonna pull out my Rocky flag!’?”
When I spoke with Avildsen back in 2014 — shortly before a Texas appearance to promote The Films of John G.Avildsen: Rocky, The Karate Kid and Other Underdogs I related this anecdote to the director. He was amused — but not surprised.
“That’s another indication,” Avildsen said, “of just how pervasive that movie’s been around the world.”
Here are some other highlights from our 2014 conversation.
It never ceases to amaze me that so many people misremember the ending of Rocky – that they actually think Rocky Balboa won the big fight. Back in the 1980s and ‘90s, I would occasionally get phone calls at The Houston Post from people who wanted me to settle bar bets regarding whether Rocky or Apollo Creed won.
That’s funny. But, really, I never thought it was important whether they knew it or not. And if they thought it was important, they missed the point.
When I interviewed Sylvester Stallone a few years back, he indicated that while you were making Rocky, expectations weren’t very high for the film.
We thought it was going to be on the bottom half of a double bill of a drive-in in Arkansas. There was no expectation of what it became.
Do you think you could get it green-lit in today’s blockbuster-obsessed Hollywood?
It would depend whether George Clooney were going to play Rocky. I mean, seriously, it all boils down to who’s going to play the guy. The people who financed Rocky had no idea who Sylvester Stallone was. And they were shown Lords of Flatbush – a terrific movie, and Sylvester was very good in it. They saw it, and they said, “OK,” and they okayed it.
So now the movie’s being made, and they look at the first dailies. And they say, “So, where’s Stallone?” And I say, “That guy’s Stallone.” And they say, “No, Stallone is a blond.” See, they saw Lords of Flatbush – and they thought Perry King was Stallone. They said yes to Perry King. That gives you some idea how well everything is organized in life.
Do you still re-watch Rocky from time to time?
Oh, if I come across it while I’m channel-surfing and, you know, if nothing else is on, I might. But I don’t go out of my way. [Laughs] I’ve already seen it a few times.
Well, you already know how it ends, right?
It wasn’t supposed to end that way, though.
Really?
Originally, it was written where the crowd carries Apollo out, and the crowd carries Rocky out. And as Rocky’s going by Adrian, who’s at the end of the aisle, he leans down and pulls her up and they go out on everybody’s shoulders. That’s how it was written, and that’s how we shot it with Apollo being carried out.
But then the assistant director came to me and said, “We don’t have enough extras to carry out Rocky.” And Sylvester heard this, and he said, “Well, you know, Rocky didn’t win, so maybe nobody carries him out. Maybe he just walks down the aisle, and he sees Adrian, and they hold hands and they walk off.” And I said, “Gee, that sounds pretty poetic. Let’s do that.” So we did do that. And if you remember, the original poster had the boy and the girl walking away from the camera.
So what made you decide to change that ending?
Well, I’m cutting the thing together, we’re almost done, and (composer) Bill Conti brings me the last cue, the last piece of music for the movie. And I was knocked out by it. I said, “Boy, that is absolutely sensational. But I don’t have any footage to go with that. I’ve got this boy and girl walking away like they’re going to a funeral. And this music is not that.” So what I think we ought to do is, we keep Rocky in the ring, and have (Adrian) battle her way through the crowd. He’s bellowing: “Adrian! Adrian!” And she gets there, and they clinch, and it’s “I love you,” and we’re out.
Well, nobody wanted to hear about that. Because, you know, if they hear that we’re reshooting, people will think you’ve got a turkey. So I played this music and cut the film that I had, and then I told (the producers), “Instead of seeing this, imaging her battling her way through the crowd to get to the man she loves.” And they said, “Well, OK, you have half a day.”
These are the same producers who are about to start shooting on New York, New York, a Marty Scorsese picture with DeNiro and Liza Minnelli. And Marty’s camera package was sitting in their office. So we borrowed it – unbeknownst to Marty, I think. That’s what we shot that ending with.
If we didn’t have that ending, and we didn’t have Bill Conti’s music – I wouldn’t be talking to you right now.