Matinee

Year of Release:  1993
Director:  Joe Dante
Screenplay:  Charles S. Haas, from a story by Charles S. Haas and Jericho Stone 
Starring:  John Goodman, Cathy Moriarty, Simon Fenton. Omri Katz, Kellie Martin, Lisa Jakub
Running Time:  99 minutes
Genre:  Comedy

Key West, Florida, October 1962:  Flamboyant B-movie producer Lawrence Woolsey (Goodman) comes to town to preview his latest epic, a science-fiction/horror film called Mant!.  However the Cuban Missile Crisis has started and the town is in a state of red alert.  Young horror fan, Gene Loomis (Fenton) is one of the Naval kids whose father is on a blockade ship around Cuba.  On Saturday night at the movies, teenage romance, on-screen horror, and real-life fear collide.

This is a fun period comedy film.  It works as a celebration of cinema itself and horror in particular, the film-within-the-film, Mant!, is a very funny recreation of those terrible atomic age B-movies from the 1950s and '60s.  John Goodman is pitch perfect as the twinkly, enthusiastic Lawrence Woolsey who, with his gimmick-laden shows, seems to be based on real-life producer/director William Castle.  The film also features Cathy Moriarty, as Woolsey's long-suffering wife and lead actress.  The main focus of the film are the kids, Gene (Simon Fenton), his little brother (Jesse Lee), his best friend Stan (Omri Katz), rebellious Sandra (Lisa Jakub) and Stan's love interest Sherry (Kellie Martin), whose ex-boyfriend is a violent thug and aspiring poet.  The usual teen movie hijinks are present here, but it's all set against the backdrop of this looming threat of imminent nuclear annihilation, which during the Cuban Missile Crisis was seen as not so much if as when.  The appeal of horror films is partly because the onscreen horrors can act as a release and a respite from the real horrors of life, which can seem lessened, and this film deals with that.  The film has  a great soundtrack of period songs, and also pokes fun at various other aspects of 1962 such as beatniks, and weird fantasy family films with another film-within-a-film, The Shook-Up Shopping Cart, which features an early appearance form Naomi Watts.  There are also appearances form B-movie stalwart and Dante regular Dick Miller and actor/writer and director John Sayles.
This is a hugely enjoyable film, which manages to balance laughs, nostalgia, and drama.

it's showtime in Matinee       

While We're Young

Year of Release:  2014
Director:  Noah Baumbach
Screenplay:  Noah Baumbach
Starring:  Ben Stiller, Naomi Watts, Adam Driver, Amanda Seyfried, Charles Grodin, Adam Horovitz
Running Time:  97 minutes
Genre:  Comedy, drama

New York City:  Josh Schrebnik (Stiller) is 44 year old documentary filmmaker and teacher.  After making a splash with his debut film, he has spent ten years working on his follow-up, and is married to Cornelia (Watts).  One night Josh meets 25 year old aspiring filmmaker Jamie Massey (Driver) and his wife Darby (Seyfried).  Josh is enamored with the free-spirited hipster couple, Cornelia is more reluctant, but still finds herself drawn to Jamie and Darby.  Before long the older couple are adopting the tastes and lifestyles of their younger friends, at the expense of their older friends.  But things go wrong, when Josh realises that Jamie's values and worldview don't match up with his own.

This is an enjoyable and consistently funny film which does make some pertinent points about ageing.  Josh and Cornelia are approaching their mid-forties and so are a long way from being elderly (full disclosure I am currently 41) but they are facing the specter of old age there are things that they want to do in their lives that they realise they have to do sooner rather than later, or risk never being able to do them at all.  Also they are stuck in a rut, Josh has been working in the same film for ten years, and still doesn't know what it's about.  Both he and Cornelia feel alienated from their best friends, who are new parents.  They are drawn to Jamie and Darby because of their creativity, energy, and their enthusiasm particularly for retro pop culture.  However, Josh soon comes to realise that Jamie is full of pretence and artifice, and is also very manipulative.  However the film makes it clear that Jamie and Darby are part of a changing world, and Josh and Cornelia are not condemned or really mocked for embracing a youthful lifestyle, in fact it proves a mostly positive experience.  Ben Stiller is funny and engaging in the lead, and Adam Driver gets a lot of mileage form his cool hipster persona.  Naomi Watts and Amanda Seyfried are largely sidelined though.  Noah Baumbach has usurped Woody Allen as the king of New York comedy-dramas, mixing heart and humour in nearly equal doses.   This isn't his best work but it is still worth checking out.

Amanda Seyfried, Adam Driver, Ben Stiller and Naomi Watts in While We're Young 

Twin Peaks (2017 series)

Year of Release: 2017
Director:  David Lynch
Screenplay:  David Lynch and Mark Frost
Starring:  Kyle MacLachlan, Sheryl Lee, Michael Horse, Chrysta Bell, Miguel Ferrer, David Lynch, Naomi Watts, Robert Forster, Harry Goaz, Kimmy Robertson, Harry Dean Stanton, Laura Dern
Running Time:  18 one hour episodes
Genre:  Horror, crime, mystery

The original series Twin Peaks, created by David Lynch and Mark Frost, ran for two seasons between 1989 and 1991 and centered on eccentric FBI agent Dale Cooper (MacLachlan) investigating the murder of teenager Laura Palmer (Lee) in the picturesque small town of Twin Peaks.  The show mixed murder mystery, small town soap opera, cozy comedy and surreal fantasy.  Despite only lasting for two seasons, before being cancelled due to declining ratings, the show was hugely influential and is probably one of the biggest cult TV shows of all time.  The series was followed by a movie, Twin Peaks: Fire Walk With Me, which despite being released to largely negative reviews and poor box office back in 1992 has come to be regarded as a major work.  For years Twin Peaks appeared to be pretty much dead in the water, though, with David Lynch going back and forth over whether there would be a return to the strange, small town.  Until a new eighteen part Twin Peaks series was broadcast on Showtime in 2017, every episode written by Lynch and Frost and directed by Lynch.  It could have been that the new Twin Peaks would be yet another exercise in the recent nostalgia boom. 

In fact, it was anything but.  If the original Twin Peaks broke the rules of traditional TV, this pretty much explodes the whole concept of traditional narrative television.  David Lynch has described it as an eighteen hour movie and it kind of is.  Most of the episodes end with a musical performance in a bar, otherwise the episodes just stop usually with no cliffhanger or real conclusion.  There is no real plot either, it's a collection of plot strands, which are picked up and dropped seemingly with no rhyme or reason, but most involve the reappearance of Dale Cooper after 25 years stuck in the bizarre netherworld known as the Black Lodge.  Or is it?  Is it Cooper's demonically possessed doppelganger?  Or is it Las Vegas accountant Dougie Jones (Maclachlan again)?  Or all three? Where as the original Twin Peaks was essentially a murder-mystery/soap-opera with surreal fantasy overtones, in this one the weirdness is central throughout the entire show.  Even scenes that seem to be relatively straightforward are filmed and performed in a strangely off-beat way.  It also opens the story up, taking place not only in Twin Peaks, but in New York, South Dakota, Las Vegas, Texas, and even New Mexico in the 1950s.  Frequently serving up some of the most bizarre and, at times, deeply disturbing images and sequences you are ever likely to see on your TV screen, this won't appeal to everyone.  I would recommend watching Twin Peaks:  Fire Walk With Me first, if you liked that then you will probably like this.  The series as a whole is David Lynch's masterpiece: a fascinating, maddening, funny, disturbing, scary, frustrating, mesmerising puzzle box that lingers in the mind, and makes me for one keen to watch it again to work out the clues that I have missed.

 

It only gets stranger: MIKE (Al Strobel) and Cooper (Kyle MacLachlan) in Twin Peaks

J. Edgar

Year:  2011
Director:  Clint Eastwood
Screenplay:  Dustin Lance Black
Starring:  Leonadro DiCaprio, Armie Hammer, Naomi Watts, Judi Dench, Damon Herriman, Ed Westwick, Jeffrey Donovan
Running Time:  137 minutes
Genre:  Drama, biography

This film tells the true life story of FBI Director J. Edgar Hoover.  In the 1960s, Hoover (DiCaprio) dictates the story of his rise to power to a succession of young agents.  In 1919, a 24 year old Hoover makes a mark by targeting alleged Communists after a series of letter bombs are delivered to prominent politicians and public figures in Washingotn D.C.  After being appointed Director of the Bureau of Investigation, Hoover's scientific methods of criminal investigation are brought to bear in the high-profile Lindbergh baby kidnapping case.  However, in the 1930s, when the FBI declares war on the "public enemies" (famous gangsters and bank robbers such as Al Capone and John Dillinger), Hoover becomes a household name.  However as time passes Hoover becomes increasingly paranoid and obsessed with surveillance, building up bulky covert files on countless American citizens (both guilty and innocent).  At the same time he is troubled by his repressed homosexuality, and desire for his best friend, Clyde Tolson (Hammer).

This is a film which is easier to admire than like.  It boasts a strong central performance from DiCaprio who has the difficult task of portraying a complex man from his mid-twenties to late seventies, it is well shot with immaculate production design and period detail.  Visually the film employs a palette which seems to bleed all the colour from a scene making it look virtually black-and-white.  For a film that mostly takes place in gloomy, cavernous offices, it gives it an appropriately somber look.  However, the film suffers trying to pack in seven decades of American history into about two and a quarter hours, which means that many important and interesting elements are either skipped over or ignored entirely (most notably Hoover's relationship with Melvin Purvis, who was at one time the FBI's number one agent  and became famous for shooting John Dillinger.  However, allegedly jealous at Purvis' fame, Hoover turned on him).  Another problem that the film has is the prosthetic make-up for when the actors play their older characters, DiCaprio's is fine, but Hammer's just looks comical, like a rubber mask.  Also the film is very slow at times.  Hoover promoted an image of the sharp-suited, square-jawed, clean-cut, gun-toting FBI "G-Man", but he himself was a man who spent his career behind a desk, and much of the film is basically people talking in offices.  Action is kept to a minimum, and that which there is strongly hinted to be a product of Hoover's own self-mythologising.

For a man who was preoccupied with the private lives of others, and was always hungry for fame and publicity,  Hoover kept his own private life a closely guarded secret.  The film makes it pretty clear that Hoover was gay but very deep in the closet.  In one chilling scene, Hoover tries to explain to his mother (Judi Dench) that he is not interested in women and his mother harshly responds that "I would rather have a dead son than a daffodil for a son."  One of the most famous rumours about J. Edgar Hoover was that he was a transvestite, although this has since been discredited.  It's not even mentioned in the film. 

A film that is so focussed on it's central character means that the other characters rarely have much of a chance to make an impression.  Armie Hammer is impressive as Hoover's close friend, Clyde Tolson, which the film depicts as having  along term almost-romance with Hoover, Naomi Watts is underused as Helen Gandy, Hoover's long-serving secretary and Judi Dench gives a good perfomance as Hoover's sour, deeply religious mother.  DiCaprio plays Hoover with sympathy and sensitivity, no matter how unpleasant the things he does.  Hoover comes across as a bully and a power-hungry manipulator, who would do everything and anything to get what he wanted.  However, it is a testament to DiCaprio's skill and the film's script that Hoover emerges as a sympathetic, if not likeable, character.

This is an interesting enough movie, and makes a good attempt to explain an extremely complex man.  In fact, it is good enough that it is really frustrating that it is not better.

Leonardo DiCaprio in J. Edgar