To Live and Die in L.A.

 Year:  1985

Director:  William Friedkin

Screenplay:  William Friedkin and Gerald Petievich, based on the novel To Live and Die in L.A. by Gerald Petievich

Starring:  William Petersen, Willem Dafoe, John Pankow, Debra Feuer, John Turturro, Darlanne Fluegel, Dean Stockwell

Running Time:  116 minutes

Genre:  Action, crime, thriller

When his partner is killed investigating a counterfeiting operation, corrupt Secret Service Agent Richard Chance (Petersen) is determined to bring down master counterfeiter Rick Masters (Dafoe) by any means necessary.  However, Chance is forced to team up with by-the-book agent John Vukovich (Pankow), who opposes Chance's anything goes philosophy.

Adapted from the 1984 novel by Gerald Petievich, this gritty crime thriller returns director William Friedkin to the seamy world of amoral cops and brutal criminals that he previously explored in The French Connection (1974), the film that made his name.  In fact, aside from being set in Los Angeles rather than New York and dealing with counterfeiters rather than international drug runners, there are some similarities between To Live and Die in L.A. and The French Connection, both deal with ruthless cops (or, more accurately, Secret Service agents in To Live and Die) who will break any rules they have to to bring down a powerful enemy,  and To Live and De in L.A. also features it's own spectacular car chase set piece.  Despite being set in December and January, Los Angeles seems to burn under blazing sunlight, and beautiful pink evening skies (I don't know, I've never been to Los Angeles, maybe it really is like that in the bleak midwinter).  The film looks beautiful throughout, and has a pulsing score from British new wave band Wang Chung.  There is a gritty, authentic feel to the proceedings, which are filmed in some of the less glamorous parts of the city.  The cast is impressive with a number of actors who weren't well known at the time, but later went on to become major stars, notably Willem Dafoe and John Turturro.  William Petersen is believably callous as the repellant Richard Chase, who is the film's nominal hero and extorts his informer Ruth (Darlanne Fluegel) for information and sexual favours, under threat of having her parole revoked.  Willem Dafoe is good as the murderous counterfeiter,  John Turturro is convincingly desperate as the member of Dafoe's gang who Chance arrested and tries to make a deal with.  Darlanne Fleugel takes the acting honours as the unfortunate collateral damage in Chance's war on crime, and her desperation to break free and make a fresh start is heartbreaking.  The big problem with the film is, as good as it is, there is really no-one to root for here.  The ostensible "heroes" aren't much better than the crooks they are chasing.  However, this is an involving and exciting slice of '80s action thriller.

William Petersen and John Pankow in To Live and Die in L.A.

The Walker

 Year:  2007

Director:  Paul Schrader

Screenplay:  Paul Schrader

Starring:  Woody Harrelson, Kristin Scott Thomas, Lauren Bacall, Ned Beatty, Moritz Bleibtreu, Mary Beth Hurt, Lily Tomlin, Willem Dafoe

Running Time:  107 minutes

Genre:  Thriller, drama

Washington, D. C.:  Carter Page III (Harrelson) is a "walker" - he is paid to accompany wealthy wives to events, and act as companion, confidante, and cards partner.  One of his clients, Lyn Lockner (Scott Thomas), who is married to a powerful United States Senator, is having an affair with a lobbyist, but when she discovers her lover's murdered body, Carter reports the crime in order to cover up her affair.  However, Carter almost immediately becomes the prime suspect in the enquiry.  As he attempts to uncover the truth and clear his name, he finds himself embroiled in a dangerous political conspiracy.

The character of the "gay best friend" has become almost a stereotype in any number of dramas and comedies.  Usually the character comforts and helps the female lead with bitchy remarks and sharp-tongues comments, adding some humour and park to the proceedings.  Woody Harrelson's Carter Page III is almost like a "gay best friend" for hire.  The last of a distinguished Southern family, we meet him at the card table in a luxury hotel suite with the three older women that he escorts, playing canasta and holding court with arch remarks and witticisms.  Immaculately dressed, urbane, debonair with a strong line in clever remarks, and an extensive knowledge of all the best things in life.  Carter, who is gay, acts as friend and companion, but doesn't sleep with his clients.  The character is still in the long tradition of Paul Schrader's troubled, lonely men.  He lives alone in an immaculate apartment, and spends much of his time, perfecting his appearance, including his wig, which he removes only once, briefly, and researching his topics of conversation.  Although he has a boyfriend, they never seem to be all that close, and no-one else appears to be allowed into Carter's golden kingdom.  In fact, Carter's whole life seems to be a succession of facades that he puts up for other people.  This is the problem with Schrader's film, despite a fantastic performance by Harrelson, there doesn't really appear to be anything behind Carter's genteel politeness, and immaculate suits, except the briefest flickers which we see when he is angered or upset.  The supporting cast is full of great performances, including Lauren Bacall as the Grand Dame of Washington, who rivals Carter in her command of waspish remarks.  Kristin Scott Thomas is very good as the unfaithful wife, terrified of discovery.  Ned Beatty is perfectly oily as a rich, nasty, old Senator.  Originally conceived as a sequel to Schrader's 1980 film American Gigolo, this is a cleverly written film, but it feels surprisingly bland and workmanlike for Schrader.  Despite being set in Washington, the film was mostly filmed in Britain and the Isle of Man, and despite the strong cast, it has the feel of a TV movie about it, and the references to the Iraq War seem shoehorned in to give the film some contemporary relevance.  However the film has a witty and intelligent script, and it is worth seeing for the performances.  

  Kristin Scott Thomas and Woody Harrelson in The Walker

The Northman

 Year:  2022

Director:  Robert Eggers

Screenplay:  Sjón and Robert Eggers

Starring:  Alexander Skarsgård, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Ethan Hawke, Björk, Willem Dafoe

Running Time:  137 minutes

Genre:  epic, action, drama

895 AD: After King Aurvandill War-Raven (Hawke) is murdered by his brother Fjölnir (Bang), who carries off Queen Gudrún (Kidman), Prince Amleth (Skarsgård) swears to avenge his father and save his mother.  As years pass, Amleth plans to pose as a slave in Fjölnir's stronghold, and prepare for his revenge with the help of sorceress Olga (Taylor-Joy).

The film is based on the medieval Scandinavian legend of Amleth, which also inspired William Shakespeare's Hamlet.  However, if you are not into the Bard, you don't need to worry about this being Hamlet, it is basically more like a Viking version of Gladiator (2000), or a plot line from Game of Thrones (2011-2019).  Eggers, who has made his name with cerebral so-called "elevated horror" films such as The Witch (2016) and The Lighthouse (2020), may not seem like the obvious choice for making a blood-and-thunder action film, but the action is staged very well, even though it can be difficult to tell one hairy. bearded, mud-caked Viking from another.  The film is well-designed and it is a pretty bleak, unsympathetic worldview, even anti-hero Amleth seems more than happy to raid and pillage villages.  Alexander Skarsgård is good as the snarling, steely-eyed Amleth, Nicole Kidman is good as the sinister queen, and Anya Taylor-Joy, who made her name with Eggers' The Witch,  provides the film's conscience as the mystical, nurturing Olga.  The film has a semi-supernatural aspect with Olga's magic, and Amleth's frequent hallucinatory visions, as well as a magical sword.  Even though it is quite a long film, there is too much going on for it to ever get dull.  It's been a while since there was a proper musclebound sword and shield historical action film like this, so it is quite welcome.  It also comments on the price to be paid for vengeance on both sides.

Alexander Skarsgård is The Northman

Nightmare Alley

Year:  2021

Director:  Guillermo del Toro

Screenplay:  Guillermo del Toro and Kim Morgan, based on the novel Nightmare Alley by William Lindsay Gresham

Starring:  Bradley Cooper, Cate Blanchett, Toni Collette, Willem Dafoe, Richard Jenkins, Rooney Mara, Ron Perlman, Mary Steenburgen, David Strathairn

Running Time: 150 minutes

Genre:  Thriller

In 1939, Stanton "Stan" Carlisle (Cooper) is on the run from a shady past when he finds refuge in a travelling carnival, befriending fortune teller Zeena the Seer (Collette), her alcoholic husband (Jenkins), Clem (Dafoe) who runs the carnival's "geek show" and exhibition of "human oddities", and Molly (Mara) whose act consists of her being electrocuted.  Learning the secrets of the inner workings of the carnival, and particularly the tricks behind pretending to be clairvoyant, Stan approaches Molly with a proposition that they work the scam together on wealthier marks.  Two years later, Stan and Molly are successfully working their act for the wealthy elite of New York City, when Stan is approached by Dr. Lilith Ritter (Blanchett), who has her own idea for a scam, but as the stakes are raised to more dangerous levels it becomes increasingly unclear who is playing who.

Guillermo del Toro is probably best known for his work in the horror and fantasy genre, most notably Pan's Labyrinth (2006) and The Shape of Water (2017), this however is not a supernatural or a fantasy film, although it is pretty horrific at times.  This is a modern day film noir, in fact the novel by William Lindsay Gresham has been filmed before in 1947, in the heyday of the film noir.  This film presents a throughly bleak portrait of human nature, almost everyone in the film is working some kind of scheme, or con, although some more innocent than others.  Bradley Cooper is good as the silver tongued charmer who hides very dark secrets and is capable of occasionally lashing out with shocking violence.  Cate Blanchett plays psychologist Lilith Ritter as a classic femme fatale all blood-red lipstick and golden gowns.  Toni Collette plays the smalltime carnival fortune teller who teaches Stan the tricks of the trade.  Rooney Mara plays the innocent, wide-eyed Molly who becomes the conscience of the film and, crucially, the only one perceptive enough to see where they are headed.  Willem Dafoe has a ball as the cruel Clem who keeps a caged man as the sideshow "geek", forcing him to bite the heads off chickens.  The twilight world of the carnival is brilliantly evoked, all mud and dirt and broken-down seedy glamour.  Del Toro is a master of disturbing but beautiful images, and he evokes a cold, bleak world, even New York is wintery streets and palatial but sterile hotel rooms and offices, The film has a complex, twisting plot, punctuated by occasional, brief, shocking bursts of violence.  While it may be too bleak for some viewers, it is a striking latter day film noir, and one of the best new thrillers that I've seen in a long time.         

Bradley Cooper and Rooney Mara in Nightmare Alley

Spider-Man: No Way Home

Year of Release: 2021

Director:  Jon Watts

Screenplay:  Chris McKenna and Erik Sommers, based on Spider-Man created by Stan Lee and Steve Ditko

Starring:  Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Jamie Foxx, Willem Dafoe, Alfred Molina, Benedict Wong, Tony Revelori, Marisa Tomei, Andrew Garfield, Tobey Maguire,

Running Time:  148 minutes

Genre:  Super-hero, action, science-fiction

Following the public unmasking of Peter Parker (Holland) as masked vigilante Spider-Man, his life, and the lives of Peter's girlfriend MJ (Zendaya) and best friend Ned (Battalion) have been made a misery.  Unable to escape the unceasing attention and endless controversy, Peter approaches powerful mystic Doctor Strange (Cumberbatch) to cast a spell to make the world forget that he is Spider-Man.  However, Peter's interference with the spell causes it to go wrong, bringing in supervillains from other dimensions to  Peter's universe.  

This is a sequel to Spider-Man: Homecoming (2017) and Spider-Man: Far From Home (2019) and is the 27th instalment in the ongoing Marvel Cinematic Universe (MCU).  This also brings in characters from other non-MCU Spider-Man films such as Spider-Man (2002), Spider-Man 2 (2004), Spider-Man 3 (2007), The Amazing Spider-Man (2012) and The Amazing Spider-Man 2 (2014).  There is also an appearance from Charlie Cox as Matt Murdock from the Netflix Daredevil series (2015-2018).  This is one of the better MCU films, with humour and genuine emotion, towards the end there were several audible sobs at the screening I attended.  The action is spectacular, with a particularly impressive set-piece set in the surreal Mirror Dimension.  If you are not familiar with the MCU in general or the Spider-Man films in particular, this is not a very good place to start, and may be quite alienating for newcomers.  However, it is fun to see the old familiar faces, and they generally work well, even if there are too many adversaries for the film's good.  Crucially the film has some real emotion.  Peter Parker deals with some devastating losses, and there is some real weight in his scenes with MJ (of course Tom Holland and Zendaya are in a relationship in real life).  Peter is in many ways defined by his non-super powered support network, MJ, best friend Ned and his Aunt May (Tomei) who frequently act as his conscience and reminder that, in the immortal phrase, "with great power there must also be great responsibility." As always with MCU films there are additional scenes in the end credits.

Tom Holland in Spider-Man: No Way Home 

Pasolini

 Year of Release: 2014

Director:  Abel Ferrara

Screenplay:  Maurizio Braucci

Starring:  Willem Dafoe, Ninetto Davoli, Riccardo Scamarcio, Valerio Mastandrea, Adriana Asti, Giada Colagrande, Maria de Medeiros

Running Time:  84 minutes

Genre:  Drama, biography, 

Rome, 1975:  Internationally acclaimed film director, poet, screenwriter, author, essayist, critic, commentator and intellectual Pier Paolo Pasolini (Dafoe) his just completed his notorious film Salò, or the 120 Days of Sodom and has returned home to start work on two new projects: a novel, and another film.  However neither of the projects are completed, as Pasolini is brutally murdered.

The film moves between the events of Pasolini's final few hours and recreations of scenes from his planned film and unwritten novel.  It's less of a biography of Pier Paolo Pasolini, and more of a tribute to him.  The film assumes that it's audience are already familiar with Pasolini, and at least the basic facts of his life and work.  If you are not familiar with him, then you won't learn anything about the man or why he was so important.  Prolific director Abel Ferrara began his career with the notorious The Driller Killer (1979) before moving on to disturbing cult films such as Ms. 45 (1981), King of New York (1990), Bad Lieutenant (1992), The Addiction (1995) and The Funeral (1996).  This is more of a European art film but, while it lacks much of Ferrara's earlier carnage, this still has some explicit sex and the climatic murder is deeply disturbing.  Moving between fact and fantasy it's sometimes unclear as to what is actually happening, but Ferrara conjures some startling images.  Clad in black leather jacket, with dyed black hair and eyes permanently hidden behind dark glasses Willem Dafoe bears a remarkable physical resemblance to Pasolini, given to making gravely pronouncements in restaurants and during interviews, Pasolini remains a cipher, but in the scenes with his friends and families, Dafoe imbues him with genuine warmth.  the film also costars Pasolini regular Ninetto Davoli.  While this would be inaccessible for newcomers, Pasolini fans should enjoy it.

  Willem Dafoe as Pasolini

The Lighthouse

Year of Release:  2019

Director:  Robert Eggers

Screenplay:  Robert Eggers and Max Eggers

Starring:  Robert Pattinson, Willem Dafoe

Running Time:  109 minutes

Genre:  Period drama, horror

In the late 19th century, two lighthouse keepers (or "wickies") head out to tend to a remote lighthouse off the coast of New England.  When they are stranded at the lighthouse during a terrible storm, their sanity begins to unravel due to the stress, the lack of supplies, the harsh conditions on the island, their isolation and their heavy drinking.

Director and co-writer Robert Eggers first came to prominence in 2016 with his feature debut The Witch, and has come out with one of the strangest films in recent years.  Filmed in crisp black-and-white, with dialogue influenced by the journals of lighthouse keepers of the period and the works of 19th Century American writer Sarah Orne Jewett, with elements from Herman Melville, Samuel Taylor Coleridge, Robert Louis Stevenson and Edgar Allan Poe, the film mixes bleak realism, surreal fantasy and elements of lowbrow comedy (there are a surprising amount of fart jokes).  The film is almost entirely a two hander between Robert Pattinson as the neurotic newcomer and Willem Dafoe, as the irritable, superstitious veteran, both turning in fantastic performances, alternating between tentative friendliness, almost homoerotic intimacy, odd-couple comedy and real menace and threat as the balance of powers shifts in some unexpected ways.  The film almost feels like a queasy nightmare, and a relic from a previous age.  It's full of references to art, literature and mythology, and cinematically feels like a folk horror film from Ingmar Bergman or Carl Theodor Dreyer, although it properly belongs to a world far older than cinema.  This is a film that may not exactly be enjoyable in a conventional sense, but people will be looking at it and analysing it for years to come.

 Willem Dafoe and Robert Pattinson in The Lighthouse

Wild at Heart

Year:  1990
Director:  David Lynch
Screenplay:  David Lynch, based on the novel Wild at Heart:  The Story of Sailor and Lula by Barry Gifford
Starring:  Nicolas Cage, Laura Dern, Diane Ladd, Willem Dafoe, Harry Dean Stanton, J.E. Freeman, Isabella Rossellini
Running Time:  120 minutes
Genre:  Road movie, drama, comedy, romance

This startling film plays like a surreal homage to The Wizard of Oz (1939) and Elvis Presley.  Sailor Ripley (Cage) and Lula Pace Fortune (Dern) are a young couple deeply in love.  However Lula's deranged mother, Marietta (Ladd), is determined to keep them apart.  After Sailor is released following a prison sentence for killing a man in self-defense, he and Lula decide to run off to California.  However, Marietta is determined to get Lula back and sends her private detective boyfriend, Johnnie Farrgut (Stanton), to track the couple down.  To make sure that Sailor is kept away permanently, Marietta contacts her other boyfriend, the murderous gangster Marcello Santos (Freeman), to send a hitman after the couple.  Meanwhile, Sailor and Lula find themselves trapped in a dangerous and very strange world, as they travel through a twisted, nightmarish version of the southern US.

The film opens with a match striking and then billowing clouds of flame filling the screen, and it doesn't let up from there.  There is never a dull moment in this hilarious, romantic, shockingly violent and deeply weird movie.  One of director David Lynch's trademarks is his mixing of extreme violence, disturbing surrealism, with often genuinely touching sentiment.  Lynch described this film as being "about finding love in Hell".  A long time fan of The Wizard of Oz, Lynch made the film one of the touchstones for the Wild at Heart script, and the film's sense of hope comes from Sailor and Lula's conviction that there is something better over the rainbow and at the end of the yellow brick road.  Lynch also saw Sailor as an Elvis Presley figure and Lula as Marilyn Monroe, and Nicolas Cage does perform two Elvis songs in the film.   Nicolas Cage turns in a superb perfomance as the snakeskin jacket clad Sailor (which in the film he claims "represents a symbol of my individuality and my belief in personal freedom"), and is perfectly complemented by Laura Dern as the tough and sexy Lula.  The love story between the two is genuinely affecting.  They make love, dance and have long rambling conversations about pretty much anything that happens to cross their minds.  Laura Dern's real-life mother Diane Ladd is memorable as the insane Marietta, for which she was Oscar nominated for Best Supporting Actress.

The film is very different from Barry Gifford's mostly dialogue driven novel.  Although the film is far more graphically violent than the book, the book is in it's own way darker, with quite a bleak conclusion.  Despite winning the Palme d'Or for Best Film at the 1990 Cannes Film Festival, the movie was heavily criticised on it's release for the violence and weirdness, but in my opinion, the fact that this tender love story is set amongst all this horror, darkness and violence makes it shine all the more brighter.  Personally I love this film, it's sexy, romantic, violent, tender, funny and bizarre, and is probably David Lynch's most thoroughly entertaining movie.  The film's ultimate message appears to be that in an insane, twisted, nightmare world, the only hope for survival is love.


"This whole world's wild at heart and weird on top."
- It's hard to disagree with Lula (Laura Dern)

Laura Dern and Nicolas Cage hit the road in Wild at Heart           

              

Daybreakers

Year: 2009
Directors: Michael Spierig and Peter Spierig
Screenplay: Peter Spierig and Michael Spierig
Starring: Ethan Hawke, Willem Dafoe, Claudia Karvan, Sam Niell, Michael Dorman, Isabel Lucas
Running Time: 98 minutes
Genre: Horror, science-fiction, action

Summary: By 2019 a plague has turned most of Earth's population into vampires. Those who are still human are hunted down for their blood or turned into new vampires. However, the human population has now dwindled to the point that the human race is virtually extinct, which would deprive the vampires of their food source. If a vampire goes for too long without human blood they begin to degenrate into a violent bat-like creature known as a "subsider". Edward Dalton (Hawke), who is sympathetic towards humans, is working towards finding a synthetic blood substitutewhich he hopes will allow vampires and humans to co-exist. However, his greedy boss Charles Bromley (Neill), intends for the synthetic blood to allow the human race just enough time to repopulate before he starts farming them again and selling the real blood for top dollar. After rescuing a group of humans from the police, Edward is contacted by Audrey (Karvan), leader of an undergound group of humans. Through her Edward meets Elvis (Dafoe) a man who accidentally stumbled upon a method for returning vampires to their living human states. The problem is whether the method can be duplicated and whether the vampires will accept it

Opinion: One of the most interesting elements in this blend of vampire horror and science-fiction action movie is it's depiction of a vampire world, complete with blood bags hooked up at the subway station coffee kiosk, windowless houses and shielded "sun-proof" cars, shot in muted colours where dull blues and greys predominate. The performances are good with Ethan Hawke engaging and sympathetic as the "good-guy" vampire and Willem Dafoe adding a lot of fun as the wisecracking Elvis. The action is well handled with a lot of exciting car chases, and plenty of explosive gore, and the whole thing keeps moving nicely.
This is one of those movies where it's best not to think about it too much after you've watched it because there are so many elements and explanations that just don't make much sense, but it will provide a fun hour and a half for action and horror fans.




Meetings of the Crossbow Appreciation Society tended towards the dull: Ethan Hawke, Claudia Karvan, Willem Dafoe and Vince Colosimo in Daybreakers