THE LAST TEN MOVIES I WATCHED…AND WHY I WATCHED THEM (February 2019 Edition)

Feb. 7-The Bank Job (2008, d. Roger Donaldson, First Viewing)

Saw it in a bargain bin and decided, on the strength of Roger Donaldson’s name (and fond memories of Smash Palace and No Way Out), to take a chance. Good pick, bordering on a “wow.” It’ll take a few visits to decide whether this is great or near-great, but at first contact, it even made me like Jason Statham (whose presence tempted me to give it a pass) and more than a little. Based on the biggest bank heist in the history of the UK, and plausible down to the last detail even if parts had to be made up, as the movie itself says “to protect the guilty.” If England really is going away forever, whoever comes next can show this for proof of why it deserved its fate.

Feb. 8-Ace in the Hole (1951, d. Billy Wilder, Second Viewing)

Because it was showing at the college theater, free for students and alumni! They showed it on a medium-sized screen in the small room, but it was enough of a difference from my single DVD-viewing to raise it a notch to near-greatness. I imagine it would go all the way in a big hall. For those who don’t know, it’s Billy Wilder’s poison pill valentine to yellow journalism and boy is it contemporary. Kirk Douglas is the only big name in the cast. Everybody else, even the few familiar character actors, look as though they were hired on location for sub-union wages. Since Douglas  (never better) is playing a big-shot reporter who’s been thrown off of every decent paper in the east, slumming in some podunk town in the driest, hottest American Southwest ever filmed while plotting his way back to the big time, the contrast works beautifully. The crackling Wilder dialog never sounded better than here, coming out of the mouths of ordinary Americans grinding along, finally getting what they want in the way of excitement and getting it good and hard.

Feb. 11-The Departed (2006, d. Martin Scorcese, First Viewing)

Because I hadn’t seen it before. Because I’m always willing to give Marty Scorcese another try just in case he might one day make me root for one of his characters to do something other than die so yet another of his soulless, well-crafted movies can be over already. Because there was another bargain bin and I was really bored (and really miffed I still can’t afford a decent CD player because the bottom line is now fifty dollars more than the last time I couldn’t afford it) and this was really cheap.

Bottom line? I didn’t want the Leo DeCaprio character to die. Three guesses how that worked out.

Feb. 13-Life of Crime (2013, d.  Daniel Schechter, Umpteenth Viewing)

Because, in these few short years, it’s become one of my go-to movies of this or any decade. Even though they sort of work the same side of the street, and it’s not my side, I have a higher tolerance for Elmore Leonard than Martin Scorcese. A lot of good movies have been made from his stuff, going all the way back to the 50s and I seldom want his people to die, which, among other things, makes it a relief when they don’t. I’ll always watch this one for the look on Jennifer Aniston’s face when she’s getting high to the sound of “Let Your Love Flow,” and for trying to decide whether she, Mos Def (Yasiin Bey), or John Hawkes has the best voice going, not just here but anywhere, and who looks and sounds the most like they stepped straight out of the 70s.

Feb. 15-Against the Ropes (2004, d. Charles S. Dutton, First Viewing)

If you notice an unusual lot of first-time viewings here, well, that’s what happens when I get cheap and bored. I picked this one up because I vaguely remembered Meg Ryan getting some of her last good reviews for it. She earned them. The rest of the movie is boilerplate (albeit reasonably well-executed), But Ryan’s performance as pioneering boxing promoter/manager Jackie Kallen, who was the first woman to do pretty much everything in the field, and the first to do a few things period, is all that. How much you like this movie will depend on how much you like Jackie Kallen. I liked her quite a bit. Better than I expected to because Ryan didn’t make her lovable. I don’t think it’s a go-to. There’s plenty of Meg Ryan elsewhere for that. But I’m glad I saw it once.

Feb. 16-Gambit (1966, d. Ronald Neame, Umpteenth Viewing)

Well because it’s for always and my favorite comic heist flick. But especially for the way Shirley MacLaine’s Nicole Chang gets smarter whenever Michael Caine’s Harry Dean gets dumber and vice versa. They make it a miracle of ease (and comedy, and romance). Hollywood spent years trying to remake it and finally succeeded with Cameron Diaz and somebody or other. Why no one knows. I haven’t seen it. It was probably part of a drug deal. Certainly, it was some sort of criminal enterprise, like every attempt to improve perfection. To pull that off you’d need these actors…and a time machine.

Feb. 18-The Terminator (1984, d. James Cameron, Umpteenth Viewing)

Because, as I’ve said before, it’s the greatest pulp movie ever. James Cameron has spent the rest of his life trying to live up to it without even coming close, maybe because he never got another performance out of an actor to match what Linda Hamilton did here, growing from a scared rabbit to the “mother of the future” without a false move. Naturally, she was rewarded with a TV show. Her next best part on film was as the action hero in Terminator 2 and it was the best by miles any woman has done with such a role. But it was barely one-dimensional compared to this. That and the nine hundred deservedly iconic visuals that keep popping off the screen (not to mention the only successful triple-climax in the history of action movies), will always make it bottomless.

Feb. 19-Angel and the Badman (1948, d. James Earl Grant,  Umpteenth Viewing)

Because John Wayne and Gail Russell and because it was time. It’s always time.

Feb. 21-French Kiss (199, d. Lawrence Kasdan, Fifth Viewing)

Like I said. there’s plenty of go-to Meg Ryan, none better than this, probably the breeziest part she ever had. It actually helps that the iconography of When Harry Met Sally and Sleepless in Seattle are missing. You can watch it without wondering whether you’ll need to memorize pull quotes for the dissertation. And, at least five times around, Kevin Kline playing a randy French jewel thief is more fun than Billy Crystal playing an uber-mensch or Tom Hanks playing an uber-WASP. He might even catch you by surprise once in a while.

Feb. 23-The Conversation (1974, d. Francis Ford Coppola, Fourth Viewing)

For the best movie of the 1970s…and the best movie about the 1970s (I’m not sure any movie has ever been both for any other decade). It makes sense in a way. If by chance anybody caught the peculiar mood of the 70s on film, it was bound to become definitive as time went on. This one always places high on “best of” critical lists….but never too high. That will come in the future when we don’t have to deal with what all we didn’t do to avoid living where we do now.

Til next time…

WHAT IMPRESSED ME THIS WEEK (Keith Carradine Nails Wild Bill Hickok, Gets Killed For His Pains)

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(John Hawkes and Timothy Olyphant, each assaying his entire range of facial expressions in Deadwood, and Keith Carradine as Wild Bill Hickok)

It may not always be obvious, but I really do prefer to accentuate the positive. So when I finally caught up to Deadwood this week, David Milch’s “revisionist/realist” vision of the west that ran on HBO from 2004 to 2006, I was hoping–against what I knew were long odds based on what I’d read and various clips I’d seen over the years–that I could find something good to say about it.

Not too long into the first episode, I realized it had one very good thing, which was Keith Carradine’s riveting performance of Wild Bill Hickok, a mytho-historical figure who has probably been portrayed on screen only slightly less often than Wyatt Earp and Jesse James.

Naturally, I didn’t want it to stop there. I looked really hard for a second good thing. Ten episodes in, I haven’t found it, unless having my suspicions confirmed that–given the bright “creative” minds involved–not much was likely to be very realistic and nothing at all was going to be revised counts as a positive.

I actually consider that last to be sort of value-neutral, so Carradine as Wild Bill it is.

I’ll admit it’s not a small thing.

I’m sure the script called for Hickok to meet his famous demise at the end of the fourth episode before Carradine was even cast. But, if it hadn’t, they probably would have needed to move the enterprise  forward. Based on the ten episodes I’ve seen so far, letting him hang around for even four episodes might have been a mistake, because having even one person walk through this drag-ass exercise in po-mo pretension for four seconds (let alone four episodes) who looks, sounds, moves and behaves like someone who might have actually lived a life worth telling  a story about–in the Old West or anywhere else–just knocks the whole enterprise sideways.

Once the famous fatal bullet finds its mark in the back of Will Bill’s head, we’re left with Ian McShane’s Al-Pacino-In-The-West bluster (I’d call it one-note but that’s giving it credit for far too much dimension) and Timothy Olyphant’s thousand-yard-stare (which, if, as I suspect, is his version of the laconic western hero, has given me a whole new measure of appreciation for Gary Cooper which I wouldn’t have previously believed either necessary or possible) and Milch’s evident belief that adding three “fucks” and a “cocksucker” to lines nobody who knows anything at all about “the West” as either history or myth could possibly read with a straight face to begin with will make it all come good in the end.

But, for all that, I’m still grateful Carradine got to assay his Hickok in something or other, and, while I regret he didn’t get the stage he deserved (preferably in something scripted by Charles Portis or Thomas Berger) I still have to honor a performance that gives us both a definitive version of the cold-eyed killer we’ve seen so often…

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and one we haven’t seen at all….

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(NOTE: Going over Carradine’s IMDB listing to see what all I might have missed I was reminded that he was a Robert Altman regular in the seventies. Robert Altman, if we didn’t thank you then–for this and many other gifts–we thank you now!)