movies Archives - Page 39 of 111 - Ramblin' with Roger

John Belushi would have turned 70

Saturday Night Live was the platform from which John Belushi and Dan Aykroyd launched the Blues Brothers.

John Belushi.Rolling Stone Since John Belushi (January 24, 1949 – March 5, 1982) was only 33 when he died, he’s been gone longer than he was alive.

I watched Saturday Night Live religiously for the first quarter century. While that original cast was quite gifted, I’ve always balked at the notion that that all the subsequent groups were inadequate by comparison.

It’s unsurprising that Jane Curtin recently talked about sexism at SNL. “‘There were a few people that just out-and-out believe that women should not have been there and they believe that women were not innately funny,’ said the first female anchor of SNL’s ‘Weekend Update’ segment.” And one of those was Belushi.

Nevertheless, in lists of the greatest cast members of all time, Ranker has John Belushi at #3 and Rolling Stone dubbed him #1. “‘Samurai Hitman,’ where Belushi proves he doesn’t need words — just a robe and a sword — to turn a one-joke premise into a savage comic ballet.” He did a great Henry Kissinger, and the Greek owner of the Olympia Café always fascinated me.

SNL was also the platform from which Belushi and Dan Aykroyd launched the Blues Brothers. I suppose I was nervous about their sincerity – I didn’t know at the time that Aykroyd had played with a blues band in Canada – but having such luminaries as guitarist Steve Cropper and bassist Donald “Duck” Dunn from Booker T and the M.G.’s well as Matt “Guitar” Murphy, gave me comfort.

I was pleased when I bought the four-CD set Atlantic Blues in the 1990s and found Hey Bartender by Floyd Dixon and I Don’t Know by Willie Mabon. The Blues Brothers’ covers were surprisingly credible, I discovered.. Now the Blues Brothers MOVIE (1980) was loud and messy and pretty much critic-proof. And it had Aretha, Ray Charles sand Cab Calloway.

Belushi’s previous film, National Lampoon’s Animal House (1978) practically invented the raunchy college comedy. What it lacked in script – “food fight!” – it more than made up with energy and panache and a great Elmer Bernstein score. It was wildly successful, and generated spinoffs on all three TV networks, none of which lasted more than a few months.

Animal House was endlessly quotable – “double secret probation.” But never more when Bluto Blutarsky (Belushi) gave the Was it over when the Germans bombed Pearl Harbor? speech.

The other John Belushi movie I saw was Continental Divide (1981), with him playing a tough Chicago reporter who “gets a little too close to the Mob.” For his protection, his editor sends him to Colorado to investigate an eagle researcher (Blair Brown).

I remember enjoying the movie, with Belushi playing against type. Though I recall that the reviews were mixed and the box office tepid, Roger Ebert liked it.

There’s often a desire to play “what if” when performers die tragically young. But it’s a futile task.

Movie review: The Favourite (2018)

The acting in the Favourite by Olivia Colman, Rachel Weisz, and Emma Stone was excellent.

The Favourite Yorgos Lanthimos — Weisz, Stone, Colman

Unless you’re paying close attention to movie releases, it may have been confusing to see two costume dramas released about the same time frame. One was The Favourite, set in the early 18th century with England is at war with the French, and Queen Anne (Olivia Colman) is unwell. The other was Mary, Queen of Scots, with the titular character (Saoirse Ronan) struggling to regain the English throne against Elizabeth I (Margot Robbie).

My wife and I opted for the former at The Spectrum in Albany because it fared better with the critics (94% positive) than Mary (62% positive). Moreover, people whose opinions I value also liked it.

The Favourite is, I gather, supposed to be comedy posing as a historical drama with a touch of palace intrigue. The humor (humour?) presumably was supposed to come from these British historical figures who one would think would be stuffy and reserved. Instead, they’re bawdy and crude. The concept I think is a valid one.

It didn’t work for me. Perhaps the film was just too weird. I didn’t laugh very much, though the disco dancing – seriously – was entertaining. The ending had several of us in the theater after the lights came up discussing it with WTH bemusement. The revenge of the bunnies?

This is is not to say that it was without merit. The acting, by Colman; Rachel Weisz as aide de camp Lady Sarah, who often acted as head of state; and Emma Stone as Sarah’s cousin Abigail, who had fallen on hard times and finesses her way into the Queen’s good graces, was excellent. The class struggle narrative was interesting, though it fell apart. My wife noted, correctly, that Weisz is “a very handsome woman,” and Rachel and I share a birthday.

I wish I had seen The Lobster (2015), which Yorgos Lanthimos not only directed but also co-wrote. I recall that most people either loved or hated it. It also featured Weisz, and in a small role, Colman.

The Favourite is going to get all sorts of technical nominations, maybe for cinematography, costume design and other categories. My wife mused that it was a movie for which we were somehow not privy to the code. I don’t regret seeing it, but I shan’t watch it again.

Movie review: If Beale Street Could Talk

The narrative is nonlinear, bouncing around in time, but one always knows where we are in the story.

There was a trailer for If Beale Street Could Talk which I must have seen a half dozen times. You know how some previews tell you so much that you feel as though there’s no need to see the film at all? This one was quite the opposite as I could hear, more than once, puzzled utterances from the audience.

The movie was written for the screen and directed by Barry Jenkins, the creative force behind Moonlight, which beat out La La Land for best picture. It is based on the book by James Baldwin. The story is set in 1974, but, in many ways, it could have been 2018.

The movie quotes Baldwin as saying, “Every black person born in America was born on Beale Street.” Though the original Beale Street is in Memphis, this story is clearly in New York City.

Without being a spoiler, I’ll tell you that the movie is primarily a love story in the midst of an unjust system. Tish Rivers (newcomer KiKi Layne) and Alonzo ‘Fonny’ Hunt (Stephan James from the Homecoming TV Series) have known each other forever. Their friendship evolved into love. Tish and her family struggle to prove Fonny innocent of a terrible crime.

The narrative is nonlinear, bouncing around in time, but one always knows where we are in the story. Yes, there are a couple terrible folks. But there’s also great kindness and generosity bestowed upon the couple. And why not? My wife, in particular, LOVED this attractive pairing.

Regina King deserves her Golden Globe for best supporting actress as Sharon, Tish’s mom. In a smaller role, Aunjanue Ellis is also strong as Fonny’s mom. Some critics thought the film wasn’t gritty enough, to which I suggest that not every film about black people need be oppressively bleak. A mote legitimate complaint, I suppose, is too much music doing the atmospheric lifting, but it’s a minor quibble.

Only at the very end does If Beale Street Could Talk become a tad pedantic, and by that point, it was earned. As usual, my wife and I saw it at the Spectrum Theatre in Albany.

Movie review: Vice (2018, re: Dick Cheney)

My disdain for Dick Cheney has been quite high for years

Vice.movie In many ways, it’s the early scenes in Vice, the movie about former US President – I mean Vice-President – Dick Cheney, that are the most interesting to me. It was how Cheney (played with eerie physical precision by Christian Bale) went from being a Yale dropout to one of the most significant political power players in recent history.

It is the equally brilliant transformation of Amy Adams, a performer who I’ve seen in a number of films, that really wowed me. She disappears into the role of Lynne Cheney, motivating Dick before they got married. Also strong were Steve Carell as Cheney’s early mentor Donald Rumsfeld, and Sam Rockwell as George W. Bush, whose own youthful lack of self-control parallels that of Cheney.

One finds out only late in the proceedings why Kurt (Jesse Plemons) is our narrator, and that was a useful device. Even those characters with little to say – LisaGay Hamilton as Condoleezza Rice, e.g. – had the right look.

For me, one of the best laughs came with the fake credits midway through the movie. Oh, if only THAT narrative had actually played out. Since my disdain for Cheney has been quite high for years, not much of the parts after that point were particularly surprising to me. To be honest, I was feeling a bit of confirmation bias. Cleverly, the last scene, which some theatergoers missed because they left too early, addresses that issue.

I enjoyed Adam McKay’s previous movie The Big Short quite a bit more. Maybe it was because I had a lesser understanding of the topic, the market manipulation that helped bring about the Great Recession of 2008. I definitely found the earlier film to be flat out funnier, even as it ticked me off. Dark humor is a tricky thing thing, which is why the critics are so divided over Vice.

Still, despite these qualifiers, I recommend the film for its amazing ability to transform these people, via acting and makeup, into their roles in our recent history which resonate even to this day. For example, just this month, Dick and Lynne’s daughter Liz Cheney rips progressives in preview of House GOP attack plan.

I’m glad my wife and I got to see Vice at the Spectrum Theatre in Albany a couple weeks ago.

Only somewhat off topic: I Was A Cable Guy. I Saw The Worst Of America. A glimpse of the suburban grotesque, featuring Russian mobsters, Fox News rage addicts, a caged man in a sex dungeon, and Dick Cheney.

Movie review: They Shall Not Grow Old

Like all of Peter Jackson’ s work, it is first and foremost a special effects movie.

I can’t remember the last time I took off work to see a movie. But my parents-in-law, four of my wife’s cousins, and three of their significant others all traveled at least an hour to a Regal Theater in Albany to see They Shall Not Grow Old with my wife and me.

It was a curious release process, two showings, one in the evening of December 17, and the other the afternoon of December 27, in about 1,140 theaters. It was put out by Fathom Events, which specializes in one-day cinematic events such as opera performances.

Back in 2014, the centennial of the beginning of World War I, director Peter Jackson was commissioned to take 100 hours of footage and 600 hours of audio clips and make a movie out of it. As the director admitted in a clip before the actual film, he didn’t know WHAT to do initially.

Eventually, he came up with a narrative that involved the recruitment process in Britain, with many of the recruits underage; they should have been 18, and 19 to go overseas. And it’s when the story switches to France that the film changes from black and white to color.

They Shall Not Grow Old does not attempt to describe a specific battle, but rather the stress from training, boredom from waiting, to being in the trenches and experiencing German bombardments. It wasn’t until the 30-minute “making of” that I truly appreciated the astonishing work it took to make the film look as it did, from slowing down or speeding up the film to making film that appeared too dark or too light pleasing to the eye.

I was so taken by the film that I immediately had to find the two critics out of 68 who gave it a negative review. One said, “Like all of [Jackson’ s] work, it is first and foremost a special effects movie.” And it is, and an incredible one at that, but it’s an odd complaint.

The other groused that “the film is yet another erasure of soldiers of color who are nowhere to be found in what is otherwise a postmodern take on documentary filmmaking.” I don’t know was captured in those recordings so I can’t speak to this.

The truth is, and Jackson said so, that he could have made any number of films, including the role of women in the war effort, a generation before Rosie the Riveter. Or the war at sea. He was trying to create a coherent narrative. One does see, briefly, troops from other parts of the British Empire.

With the success of those two days, They Shall Not Grow Old will have another showing on January 21. An earlier report suggests it will receive a limited theatrical releases in NYC, L.A. and Washington DC starting on January 11, with plans to then expand into 25 more markets on February 1.

Here’s Chuck Miller’s take on the December 17 screening.