Maps to the Stars Movie Review

David Cronenberg’s films have always been a bit of an acquired taste. If you can bear sitting through stories about emotionally and (often) physically scarred people who continue to be tortured by and torture themselves over their trauma, and you like it all presented in the harsh cold of the distance the filmmaker puts between his audience and the film’s subjects, then you might keep returning to his work. His films are rarely short of intriguing and boundary-pushing. At least it was through his first two decades or so. It’s getting harder and harder to shock people. Once you’ve done exploding heads, nude bathhouse knife fights, and people whose sexual fetish involves car crashes, where is there room for turning stomachs? His recent spate of work resides in a heightened glossy reality. He had a mainstream renaissance with A History of Violence and Eastern Promises. Those two are among the most accessible pieces in his body of work, but they still require a suspension of conventional expectations.

25 Years Ago This Month: April 1989

We begin with what I've seen...

The biggest release of the month was Field of Dreams, still considered a sports movie classic starring Kevin Costner as a man compelled by voices to build a baseball diamond in his mid-west cornfield. He believes he was being guided in order to bring back the disgraced Chicago Black Sox - the eight players banned for life after taking money to throw the World Series in 1919. But the end has quite a different surprise in store. Ray Liotta plays "Shoeless" Joe Jackson and James Earl Jones has some wonderfully well-spoken lines and one classic speech about the timelessness of baseball.

Lee Daniels' The Butler Movie Review

It’s not so much that Lee Daniels’ The Butler is a bad movie, but that it’s completely toothless. Here’s a movie made by a black filmmaker whose audacious breakout was Precious, a film that doesn’t dare shy away from the hard circumstances of being black in America, specifically of being black and desperately poor in America. The brunt of the problem with the story is in Danny Strong’s screenplay, which drew on a Washington Post article about a black man who worked in the White House as a butler through eight Presidential administrations for inspiration. Still, Daniels chose the material to direct. And I’m not insisting that a black filmmaker must be consigned to telling black stories or that when he does, they always have to be gritty, but it seems to me there is some moral imperative to battle and to make audiences feel uncomfortable. Unfortunately, The Butler is so intent on being a moneymaker for the studio that it compromises pretty much all of its values so it can appealing to a mass audience.

25 Years Ago This Month: Eight Men Out Movie Review

John Sayles’ Eight Men Out, the story of the 1919 Chicago “Black Sox” scandal, is, on the one hand, an odd outlier compared to the rest of his work, and on the other, somewhat right in line with his plight of the working man sensibility. I’ve always been a great admirer of Sayles’ films. I especially enjoy the fact that he can make films illustrating the challenges of capitalism for laborers without being preachy or overtly socialist. He’s the more toned down American version of Ken Loach. In that respect, Eight Men Out fits right in because his version of the story, which is based on the book by Eliot Asinof, focuses more on the accused players as put-upon contracted laborers in thrall to a greedy owner who exploits their talents for financial gain. But amid his full body of work as writer and director it stands out as one of only two films he adapted from source material. So while he’s chosen to focus on the aspects that do appeal to him as a storyteller, the crux of the film is that it’s a historical sports movie, standing very much apart from his other work.

John Cusack focus concludes with Review of Identity

It can be a really effective premise to confine your characters to a single location fort eh duration of the drama. The ancient Greeks were certainly aware of this as a narrative device. It can work best in a thriller and there are many that throw a bunch of people together for a single night and then dispatch them one by one.

James Mangold’s Identity starts eerily and mysteriously with newspaper clippings of a motel murder and voiceover recordings of a psychiatrist (Alfred Molina) talking to the alleged perpetrator. Then suddenly we’re thrust into a motel office as a man bursts in holding his bleeding wife shouting at the clerk to call an ambulance. Then in overlapping flashbacks we see the sequence of events, involving a young call girl, a limousine driver and an aging movie star, and a young boy who never speaks, that led to the accident. Because of a terrible rain storm that has washed out the road in both directions, all these characters and more wind up at the motel together.

John Cusack Focus: Bullets Over Broadway Movie Review

This may be less a John Cusack film than a Woody Allen film, but it's far enough against type for Cusack that I think it's interesting to include it in this short compendium. I could just as easily file this review under my "Modern Classics" heading. This film almost made my list of the top 5 Woody Allen films. So close!

Of all of Woody Allen’s films, Bullets Over Broadway might be the most underrated. And though John Cusack is just one in a long line of actors to basically perform the Woody role on screen, his is probably the best. Not only does he get the mannerisms, the rhythms of speech, and the mania one hundred percent right, but somehow he makes the role his own. It’s less straight imitation than internal adaptation.

John Cusack Focus: Better Off Dead Movie Review

Revisiting favorite old films from your childhood can go one of two ways. In most cases you can be fairly certain that it’s not nearly as good, interesting, clever, or funny as you remember. But you can be sure that you’ll either be supremely disappointed to discover there’s little redemption to be found within its frames or that there’s actually a lot more to discover than your innocent and immature brain was capable of comprehending at the time.

Better Off Dead… is one of two bizarre comedies (along with One Crazy Summer) from the mid-80s written and directed by Savage Steve Holland and starring John Cusack. What was Holland thinking? Can you imagine a film being made today whose main character is a depressive teen who tries to kill himself several times over the course of the film’s 90 minutes – and oh yeah, it’s a comedy?

John Cusack Focus Continues: The Grifters Movie Review

The Grifters is a brilliant little hidden treasure of neo-noir. It’s a film that doesn’t find its way onto anyone’s ‘best of…’ lists, but it is worthy. I knew of its reputation and I’d seen it once before many years ago, but had almost no memory of it. Now I can’t believe what I was missing. If you’re a lover of film noir, The Grifters is a beautifully rendered cross between old-style noir and modern renditions of the genre.

That it takes place in Los Angeles is not only par for the course within the genre, but also integral to the specific thematic elements of the film. L.A. is a mixed bag of old and new. There’s neo-classical architecture juxtaposed with garish modernity. It’s a young city within the context of America, but with a storied history made to seem even older because of the presence of Hollywood, which is able to recreate any time period it wants. How many of the great noir pictures have taken place in southern California? From Double Indemnity to Chinatown and Blade Runner, the genre has plumbed the depths of the city.

John Cusack Week Continues with High Fidelity Movie Review

I’ve rarely had as strong a personal connection to a movie or a character as I had to John Cusack’s Rob Gordon in High Fidelity. At the time it was as if Rob was speaking directly to me. In fact, he regularly breaks the fourth wall and talks directly to camera, a wonderful little touch by the screenwriting team (J.V. DeVincentis, Cusack, Steve Pink, and Scott Rosenberg) in adapting the Nick Hornby novel and deftly handled by Stephen Frears so that it never feels forced or gimmicky. However, it wasn’t only the direct connection to Rob that Cusack and Frears made me feel as an audience member, but a story that was, quite frankly, what I imagined I would write at the time if I were to write a screenplay.

R.I.P. Charles Napier

Character actor Charles Napier died yesterday at age 75. He had a recognizable face, often playing military officials or cops. He was Hannibal Lecter's unfortunate victim when Lecter escapes his cell in The Silence of the Lambs and also the recipient of John Rambo's threat, "Murdock, I'm comin' to get you," in Rambo: First Blood Part II.

But I've seen him most recently in a small role in The Grifters, which will be featured as part of my John Cusack focus this fortnight. Check back for a review in the next few days.

Grosse Pointe Blank Movie Review

Martin Blank’s biggest problem is that he’s far too intelligent, introspective and philosophical for his profession. Sure, it’s served him well for a few years after a stint in the army and a government job, but now that he’s been invited to his ten year high school reunion, he’s beginning to question his path in life. Was he right when he stood up his high school girlfriend on prom night and disappeared without a trace? Does he want more from life than simply to be a professional killer?

The Films of John Cusack

He's not a megastar. He doesn't have the classic good looks of a George Clooney or the only megastar of his generation - Tom Cruise. When you think of him, you don't think of the acting talents of his contemporaries Nicolas Cage and Forest Whitaker. John Cusack is a movie star who came to prominence in the 80s and is, in many ways, defined by that decade. He's one of the few actors of his generation whose star shone brightly twenty-five years ago and continues to have success today. In addition to Cruise, Cage and Whitaker (who was mostly a utility player and not a star until his Oscar win a few years back) there's Matt Dillon and Matthew Broderick who date from that period. Neither of them works as often in feature films as Cusack continues to.

I've always admired Cusack. Maybe because as a kid I used to love watching Better Off Dead whenever it was on TV. Maybe it's because I identified with certain aspects of Lloyd Dobbler in Say Anything.... I don't think much of it now (nor did I then really), but One Crazy Summer was a staple of my lazy Sunday repeat viewing as a young lad.

25 Years Ago This Month: August 1986

Amid all the garbage that opened in August '86, there was one stand out, and also the biggest money-maker of the month, in Stand By Me. Based on one of Stephen King's better stories, it is not incidentally one of the best coming-of-age movies from the period. It's one of Rob Reiner's best films and stars Wil Wheaton, Corey Feldman, Jerry O'Connell and River Phoenix all boosted their careers here.

This month saw Spike Lee's electric film debut She's Gotta Have It. It's not nearly as sharp as some of his later films, but at the time his was an important new voice in independent cinema.

25 Years Ago This Month (August 1985)

*Clicking the label "1985" below will take you to a list of all posts related to movies of that year including other "25 Years Ago This Month" entries.

August 1985 was the month of teen comedies with the release of the John Hughes comedy Weird Science in which geeks Anthony Michael Hall and Ilan Mitchell-Smith create Kelly LeBroc from a doll. I used to watch it a lot as a kid, but it's a lesser Hughes film.

Next up was Real Genius, still one of my favorites, starring Val Kilmer and Gabriel Jarrett as two super geniuses at a super genius school unwittingly designing a new powerful laser to be used as a military assassination weapon.

Fittingly, time has not been kind to My Science Project starring Dennis Hopper as a hippie high school science teacher whose students bring him a glowing orb they found which can transport them to different times and places. Yeah, you didn't miss much.

Another classic from my childhood released this month was Better Off Dead with John Cusack as a recently dumped, suicidal teen who screws up each suicide attempt. Sounds hilarious, doesn't it? It really is though. And it's totally bizarre with the two Asian characters who learned their English from watching Howard Cosell on "Wide World of Sports" and the paperboy who chases Cusack around for the "Two dollars!" he's owed.

Less classic was Teen Wolf. Despite starring the hot-at-the-moment, fresh off the release of Back to the Future, Michael J. Fox, this film only took $33 million. It was enough to be #1 for August releases but only 26th for the year.