Flashback Corner--Catch Me if You Can

 

“No, no, no, you, you do not feel sorry for me.  The truth is… I knew it was you, now maybe I didn’t get the cuffs on you, but I knew.”

 

          After “Saving Private Ryan” Steven Spielberg directed a string of movies that had some people believing that he was losing his touch.  Oh yeah, he’s still a phenomenal visual storyteller, and he can get those emotional beats as if he directed “E.T.” last year, but when people look at “A.I. Artificial Intelligence”, “Minority Report”, “The Terminal”, “War of the Worlds”, “Munich”, and “Indiana Jones and the Kingdom of the Crystal Skull” it’s a little easy to see what people are talking about.  Something seems like it is missing.  But there is a film mixed in that bunch that I feel was short changed.  And that’s 2002's “Catch Me if You Can” starring Leonardo DiCaprio as a young con man on the run from the law, led by Tom Hanks.

Based on the true story of Frank Abagnale Jr. who before he turned 19 posed as a doctor, a lawyer, and a pilot for Pan Am.  He was able to forge checks so well, that he acquired millions of dollars over the course of a few years, and conned almost everyone he met.  Hot on his seemingly cold trail was Carl Hanratty a FBI bank fraud agent.  When Frank’s family begins to fall apart because of financial hardship, he runs away and uses his natural skill and older looks to survive and begins to live well beyond his means.  Meanwhile his mother moves on with her life and his father becomes a casualty of his financial situation.  Christopher Walken plays the elder Abagnale Sr. and kills it in every scene he’s in, a part of me wishes he was a central point of the film, however this is Frank Jr.’s story and Dicaprio at least in my mind shed any ounce of “Titanic” off of him for me in this film.  It also ushered him into the world of Scorsese where he has done some of his best work.  Here in “Catch Me if You Can” you see him transform from young and reckless to aged and experienced.  It is a tremendous film and belongs up there with Spielberg’s greats.

If you re-watch the film you will see the classic Spielberg tropes, not just the great close-ups and almost perfectly framed shots, but his views on youth and the innocence of the time, not so much the naiveté, though some of the characters come off that way.  You see the broken homes, like in “E.T.”, “Close Encounters”, and “Hook” (another underrated gem).  You can hear an outstanding score by John Williams that is jazzy and very Mancini-inspired.  And this is truly the best thing screenwriter Jeff Nathanson has ever written.  Mostly though what you will see is that Steven Spielberg has never lost the ability to give us fantastic moving pictures.  There is always something to love in everything he does.  Some are scenes, and moments, but here, he spins magic, and just because it’s not the wonder of unknown alien life or a rollercoaster of ride with the man in the fedora, it shouldn’t be ignored.

 

--Robert L. Castillo   

Criterion Corner--High and Low

          Akira Kurosawa has created some great Japanese films that have that Western cinema culture appeal to them, like “Rashomon”, “Yojimbo”, and “Seven Samurai”, which was later turned into a western called “The Magnificent Seven”.  His black and white camera shots have purpose and poetry, and the stories are filled with intense moments that deeply focus on character.

His 1963 film “High and Low” is no exception.  With opening music reminiscent of a horror movie or more prevalent to the time, like a “Twilight Zone” episode, the film starts off in a somber mood but the intensity ramps up quick as we meet Gondo a partner with National Shoes, who is meeting with other partners and proceeds to throw them out as he plans to take over the company to make it better.  This all turns when he receives a call from a man who has kidnapped his son.  The ransom will crush Gondo financially but he does not hesitate to pay up.  Then his son walks into the room.  “Da-da-dummmm.”  It turns out the kidnapper took his son’s little friend who happens to be the son of Gondo’s driver.  Now the dilemma begins.  Does Gondo throw his family’s future away to save a child that is not his?

The first hour of the film centers on this choice, and leads to what would appear to be an inevitable conclusion.  The second hour is more akin to a crime show or film procedural.  It follows the cops as they follow the clues, some that may make you think of later American films, like a clue straight out of the 1993’s “The Fugitive”.  As well as my favorite moment which would be bad in any other movie, is when the cops literally sit in a hot room and talk about their investigation and what they’ve uncovered.  It reminded me of the long phone-call’s scene in David Fincher’s “Zodiac”.  This is how investigations were done in the old days, or at least similar to this, no internet, no C.S.I. just guys walking and talking.  It all leads to the kidnapper, who is creepy and meticulous in his own right, with sunglasses that reflect the “Low” life beneath the “High” life of Gondo and his family with their house on the hill.  The kidnapper doesn’t even speak until the closing minutes of the film which is a little haunting and heartbreaking all the same.

The one thing that kept bothering me was how everyone from the press to the police felt so sorry for the rich Mr. Gondo, it’s brought up so many times in the film, that I was wondering if Kurosawa wanted the sympathy from the audience about a self-made rich man losing his fortune, or if it was meant to be more of a Shakespearean tragedy.  Either way,  you get it by the end, and I was with the film the entire time.  If you, like me only know of the great Kurosawa and some of his samurai classic films.  Give “High and Low” a view, it belongs up there with the greats.

 

--Robert L. Castillo             

Seven Psychopaths

     

          In 2008 a film called “In Bruges” came out the flow under the radar for most movie goers. It was a well written movie that was funny and original. That same film also showed there was more to Colin Farrell then just looks. Well now five years later they both are reteaming for another perfect collaboration.

    “Seven Psychopaths” sounds like a great name for a horror film. It makes you think of an insane asylum and a group of teenagers being in the wrong place at the wrong time. Well that version is not nearly as good as this version. Billy (Sam Rockwell) and Hans (Christopher Walken) are not very good people. To make money they go to the dog park and kidnap dogs, and then return them when there is a reward posted. If that was not bad enough, Billy actually kidnaps the wrong dog, a dog that belongs to Charlie (Woody Harrelson), who also happens to be the head of a crime syndicate. Charlie really wants his dog back and will do whatever it takes to find him. Billy is also helping his friend Marty (Colin Farrell) come up with ideas for his next screenplay. It is Billy’s idea to call his movie “The Seven Psychopaths” and the story is quite simply about seven psychopaths, all with a different story. As the story unfolds concerning Charlie’s dog, Marty finds real inspiration, his next screenplay, and a new appreciation of life.

        Martin McDonagh is becoming one of my favorite filmmakers. He has joined the list with Paul Thomas Anderson and Rian Johnson as just can’t miss storytellers. “Seven Psychopaths” is as entertaining, as funny a film you will want to see again. Every actor in the film is great, but every time Sam Rockwell is on the screen he commands your attention, and that says a lot since he shares the screen with the great Christopher Walken. It is easy to go see that sequel or that reboot of that classic film you love. I say make time for films like this, because after seeing this you won’t say that Hollywood has run out of original ideas. If you see “Seven Psychopaths” you will recommend it to your friends, so why not be the first of your friends to see this truly good film.

 Brian Taylor

   

                                                               

Sinister

 

    A good horror movie will have you thinking about it while you lay in bed that night after you saw it. Unfortunately most horror movies today go for the cheap scare; you know the one that may scare in the now.  A good scary movie will have you be scared of the dark.”Sinister” may not be that kind of scary movie, but it will have you thinking about it after the credits roll.

    Ellison Oswalt (Ethan Hawke) is a writer of true crime novels. It has been a while since he’s had a big hit and he is looking for just the right story to get him back on top. He picks a house where an entire family was hung and where one of the children also turned up missing. Wanting to be close to the crime scene, Ellison buys the house the murders actually took place in. Ellison keeps the truth from his family about the house they have moved into and right away starts to dive into the facts. Ellison likes to do most of his work at night, and while doing so he finds a mysterious box in the attic labeled “home movies”. Ellison watches the first film and realizes it is the murder he is investigating caught on film. That film is not alone; there are four more, all different murders. Strange things start happening around the house as he gets deeper into the mysteries that surround each of these killings. What he discovers is that he and his family might have just become a true crime story themselves.

    “Sinister” may not have a lot of “jump out of your seat” scares, but what it does have is moments that will make you think and horrify you. Written and directed by Scott Dickerson (The Exorcism of Emily Rose), with the help of C. Robert Cargill, weave a creepy story. The thing that really drove it all home for me though was the music for the movie. Every scene was made better and creepier because of the score by Christopher Young. “Sinister” is not a “scary” movie as much as just something that may make you feel a little uneasy during some parts. It is said Scott Dickerson and C. Robert Cargill wanted to do something original. Well they did that, and made a horror movie that does not follow the normal path.  If you do choose to see this movie, you might want to take someone along with you.

Brian Taylor

                                                                   

What's on DVR?--In Bruges

Ever since “Pulp Fiction” the seemingly average hit-man who talks about everyday things and over-analyzes his surroundings seems to now be a hallmark in gangster/hit-man movies.  Rarely is it done well, with style and profound impact on character.  Even rarer is the high quality and great visual style of a first-time director.  Writer/Director Martin McDonagh’s film “In Bruges” is a fantastic little film about hit-men and the baggage they carry because of the horrible things that they do.

Ray (Colin Farrell) and his partner Ken (Brendan Gleeson) are hiding out in Bruges, Belgium after a hit went bad.  While the elder Ken wants to sight see in the “fairy tale” like little town, the young Ray wants to know what the next move is and is in no way swayed by the beauty of Bruges.  The pair walk around, take a boat, see the sights, annoy tourists, and as it would happen end up in a hotel with two hookers, drugs, and a dwarf played by Jordan Prentice, whose career began in 1986 when he played the role of Howard the Duck.

Things eventually get intense when Ray meets a girl and Ken discovers why they were sent to Bruges in the first place.  After a call he receives from their boss Harry (Ralph Fiennes) who feels a little like a caricature of a British villain, but still manages to pull it off.  Watching it you can still see why Farrell is a really good actor dispite some of the roles he takes, and Brendan Gleeson is magic in every scene he is in, which is most of the movie.  The film has tremendous heart, it nails the emotional beats, and has a great ending so while I didn't catch it back in ’08, that is the power if DVR, you get to see those little gems you missed.  If you can catch it on cable, give it a view.  Also come back soon for a review of McDonagh’s latest flm “Seven Psychopaths”

 --Robert L. Castillo    

The Perks of Being a Wallflower

 

         Everyone remembers the awkwardness that is High School. While being there you think they are the worst days of your life, but when you leave you realize that they may have been your best. So many people have written stories about what it is like to be in High School. Everything from what it takes to be popular to what it is to be the school loser, but what if no one notices you at all?

   That is what “The Perks of Being a Wallflower” is about. Charlie (Logan Lerman) is about to start High School and he is more than a little nervous. Charlie’s best friend committed suicide which has left him entering that world alone and confused. For the first few months of school he is invisible to everyone. Charlie finds a kindred soul in Patrick (Ezra Miller), who he meets at a football game. With Patrick, Charlie meets his sister Sam (Emma Watson), who Charlie is enamored with. When they are apart they are misfits, but together they can do anything. Charlie is happy that he has finally found someone he can fit in with, someone who notices him. The three friends go through their ups and downs throughout the school year and Sam and Patrick get close to graduation. As they leave Charlie behind, Sam and Patrick are changed as well as Charlie, with relationships what will last a lifetime.

    The film is written and directed by Stephen Chbosky who adapted it from the novel he wrote. Chbosky seems to understand what it means to be a part of that “island of misfits” that Charlie and his friends are part of. Logan Lerman plays Charlie perfect as you travel through the first year of high school through his eyes. Emma Watson in her first role outside the ‘Harry Potter’ universe shows that she will not always be known as Hermione. I really enjoyed this film, but also think that most teenagers would enjoy it more. Mainly because it is kind of a roadmap of what one can expect in high school. It is real easy to look back on life and see the things that help define us and we all know how important high school was in doing so. If you have a teenager, take them to see this movie and enjoy it together. If you don’t have kids, still see this film, because maybe, just maybe, you’ll find out that you really miss something you didn’t know you lost.  Youth.

 Brian Taylor

                                                            

Criterion Corner--Stranger Than Paradise

          If “Seinfeld” was the show about nothing, then Jim Jarmusch’s 1984 film “Stranger Than Paradise” is the film about nothing.  Filled with moments of silence, and white noise, with characters literally sitting doing nothing, not speaking, or doing anything to progress the non-story forward.  They all seem to walk aimlessly and with no clear direction, and speak in half-conversations.  All this and I have to be honest, I kinda dug it.

Willie (John Lurie) is a slacker New Yorker, before slackers were cool.  He is forced by his estranged family to put up his cousin for ten days who is coming in from Hungary.  Eva (Eszter Balint) travels with a suitcase and a bag and a tape recorder that only plays ‘Screamin Jay Hawkins “I Put a Spell on You”.  When she firsts plays it, it is eerily appropriate and is probably my favorite moment of the film.  Eva is as quiet as Willie with as much zest for life as him (meaning none). 

Filmed in black and white it is the hallmark of minimalist filmmaking.  You don’t get any more independent film than this.  Even the locations that are traveled to, from New York to Cleveland to Florida which had to all be the same location that it’s even called out in the film by Eddie (Richard Edson) who you may remember from his role in “Ferris Bueller’s Day Off” as the garage attendant.  “What country do you think this is?”  That guy.  His character Eddie provides the comic relief to the film along with Aunt Lotte (Cecillia Stark) who like a lot of older foreign woman you may know, speaks in her native tongue, except when cursing in American.

Over all “Stranger Than Paradise” is a quiet, charming film, that is worth a watch if you want to see how an independent film from the 80’s looked and sounded.  And as obvious as the message at the film’s end is, I really liked it.  Give it a watch.

 

--Robert L. Castillo