Tag Archives: Kevin Spacey

Heartburn

Two people who refuse to ever marry again meet at a wedding, as you do. Rachel’s (Meryl Streep) a writer, Mark’s (Jack Nicholson) a writer, and they both know better when it comes to love. So of course they end up marrying, though not before Rachel keeps everyone at the wedding waiting for hours and hours as she tries to warm up her cold feet in the room next door. I mean honestly, what’s the max time you would spend at a wedding if the bride was refusing to walk down the aisle?

As if that was an inauspicious enough start to their marriage, the two embark immediately on a home renovation. Which, as we all know, is responsible for like 78% of all divorces and about 94% of matricides (when a wife kills her husband). But they get through it, even with the added pressure of a baby on the way who can’t possibly be born if the lace curtains aren’t hung. And Rachel, newly domesticated, is surprised to find how happy she is. And is totally devastated to find, during the waddliest waddle of her second pregnancy, that Mark is cheating on her.

What now? The Streep takes us up and down a whole xylophone of emotions, hitting every octave with masterful precision. Nicholson is the oboe to Streep’s xylophone, a little jauntier, but hitting complementary notes, pairing nicely. Plus his back hair catches pleasingly in the moonlight. But make no mistake: the xylophone is dominant.

Directed by Mike Nichols based on an autobiographical novel by Nora Ephron, the intimacy is authentic enough to make you feel like a voyeur but you need to decide in advance that you’re here for the performance, not the story. Because there isn’t much of one: love goes off the rails. It’s sad but it happens all the time. The minute Rachel shoves a key lime pie in Mark’s face, she’s every cliche we’ve seen before and none we haven’t.

Rebel In The Rye

J.D. “Juvenile Delinquent” Salinger gets thrown out of schools just to piss his father off. It’s his mother who encourages him to enroll in a writing class, while his dad doubts there’ll be a single paycheque in his future. In his writing program he meets professor Whit Burnett, a hard-ass he grows to love. “Jerry” writes because he’s angry and he needs to express it somehow. Burnett shows him how to do this without alienating his reader. He’s also the one who encourages him to turn Holden Caulfield into a novel, and the one who worries him when he goes off to war.

Salinger (Nicholas Hoult) returns from war a better writer perhaps, but messed up in other ways, unsurprisingly. Catcher In The Rye is an enormous hit. That messes him up lead_720_405too. I wondered how I’d come to miss this movie, with notable subjects and stars, but I didn’t have to wait long to figure out the why if not the how: Kevin Spacey. He co-stars as the beleaguered, bloated professor, which means the accusations against him would have left the producers scrambling, and they buried it in a shallow Hollywood grave.

But to be fair, Spacey’s involvement isn’t the film’s only problem. It’s too neat, too well-packaged, perhaps even too kind to the author, who no doubt was an interesting, tortured recluse. Hoult is fine as Salinger, and he plays well against the likes of Sarah Paulson, Zoey Deutch, and even Spacey. But this is a pretty ordinary, banal biopic that’s a little starry-eyed about its subject, which dilutes its power and keeps us at arm’s length from the real artist, a man who loved writing but gave it up to live privately, to meditate for his mental health, and to avoid press at all costs.

It’s also, if we’re being honest, hard to reconcile a beloved and important work with so much pain. This movie is both too much (too broad) and not enough (no depth). Rebel in the Rye is more like Mediocre at the Movies.

Top 10 Actors Who Play Assholes

Kevin Spacey: Se7en, Swimming With Sharks, The Usual Suspects, Glengarry Glen Ross, American Beauty, Superman Returns for fuck’s sake. Or Nine Lives for that matter, and tenor.gifBaby Driver and Horrible Bosses. The man played Richard Nixon! No one plays mischievous evildoer as well as Spacey, but even his good guys tend to be smug bastards at best. His dialogue comes out razor-sharp, often coated with either sarcasm or condescension, and likely both.

Jeremy Piven: This guy is just insufferable. You can crown him King of Pricks based on his role in Entourage alone, but his screen credits offer further proof: Old School, Sin City, Very Bad Things. The guy even plays sleezy cartoon characters in both Cars and The Pirates! Band of Misfits. His deadpan delivery is infuriating and he has the kind of shit-eating grin that just begs to be slapped. Hard.

Christopher McDonald: I wondered if I was just holding a grudge from Thelma & Louise shooter.gif(he played the shitty husband) but no, he followed that up playing Shooter McGavin in Happy Gilmore, and what a fantastically smarmy role that is. He even plays the guy who wants to steal flubber from poor Robin Williams. He has the kind of arched eyebrow that makes me wonder: is he perpetually typecast as a dick, or do characters turn into dicks once played by him? Chicken or egg?

John C McGinley: If you see this guy on screen, you know you’re in trouble. He’s often thetumblr_mhfd5iDNow1qgqpr6o1_400.gif socially awkward dad who gets under everyone’s skin. You just want to snap his unironic suspenders to deflate his pomposity for just a moment. Platoon, Wall Street, Office Space: Hollywood seems to agree that this guy just oozes jerk.

Richard Dreyfuss: He played conceited in Dillinger, self-involved in American Graffiti, self-important in Close Encounters of the Third Kind, egotistical in The Goodbye Girl, pretentious and selfish in Mr. Holland’s Opus, and arrogant in Red. Come to think of it, is he even capable of pretending to be nice? At least he’s a bit sympathetic in Whose Life Is It Anyway; yeah he’s a real jerk to pretty much everyone around him, but the dude’s paralyzed and you cut him some slack. In everything else, you just kind of hate him.

Sam Rockwell: I kind of love Sam Rockwell, but there’s something weaselly about him. tumblr_inline_n66089BWPG1sn461n.gifHe seems to get stuck playing the douchebag an awful lot, but to his credit, he has a certain charm that makes the douchebaggery slightly lovable. Except in Iron Man 2: in that one, he’s downright evil, but I think if you’re in a movie with Robert Downey, Jr who plays the lovable scoundrel card pretty hard, you have to go big or go home.

Jason Bateman: you pair that chubby, boyish face with the condescending hot garbage that comes out of his mouth, and you’ve got a goldmine of narcissistic characters on your IMDB page. He’s obnoxious in Bad Words, manipulative in Horrible Bosses, irresponsible in Juno, patronizing in This Is Where I Leave You, bullying in Central Intelligence, a swindler in Zootopia, and downright infuriating in The Ex. This guy plays to his strengths!

Bradley Cooper: He may play a rapscallion, but he’s an irresistible rapscallion. Those dimples let him get away with murder, and sometimes his characters come pretty close. tumblr_lnzkidiQ4a1qix5n3o1_500.gifHe played the lying, cheating husband in He’s Just Not That Into You, the lying, cheating fiance in Wedding Crashers, an amoral arms dealer in War Dogs, a diva in Burnt, a shit-don’t-stick-to-me arse in The Hangover, a corrupt cop in The Place Beyond the Pines, and a reckless raccoon in Guardians of the Galaxy. Does his devilish grin suit him? It does. And Cooper knows it.

Billy Crudup: He didn’t have time for his dying dad in Big Fish. He didn’t have time for his band or for child prodigy journalists or devoted fans in Almost Famous. He puts the nails to a grieving widow in Jackie. He leads people astray in Alien: Covenant. He terrorizes kids in The Stanford Prison Experiment. His characters are not often likeable, even if they aren’t bad. What does it say about Crudup that he’s so good at that?

Jason Schwartzman: This is the guy we love to hate. He’s an angry bear in Listen Up tumblr_o1qjdbWn651ujfksmo1_500.gifPhilip, an insecure uppity asshole in Scott Pilgrim Vs The World, a conceited actor in Funny People, and as Louis XVI (in Marie Antoinette), he was the very symbol of tyranny – and that’s without mentioning every smug arsehole he’s played in every Wes Anderson film. He embodies neuroses and self-loathing. Even when he’s playing earnest, he’s coming off overearnest and cloying. He just can’t win, which is why he always plays an asshole.

 

Who’s on your list?

 

SXSW: Baby Driver

Is this the absolute coolest movie ever?

Honestly, I think I’d pay my $12 just to see that opening scene again.

Baby (Ansel Elgort) is a getaway driver, the best in the biz despite his young age, according to his boss, Doc (Kevin Spacey). But Baby has a glitch: he wears ear buds constantly to fight tinnitus. So to him, the whole world is a soundtrack. And you’re about to enter his world.

Doc never works with the same crew twice, so we see a rotation of criminals including MV5BMzk0NzMyNzcyN15BMl5BanBnXkFtZTgwNTYwNDU5MDI@._V1_Darling (Eiza Gonzalez), Griff (Jon Bernthal), Buddy (Jon Hamm), and my personal favourite, Bats (Jamie Foxx), personal motto: “I’m the one with mental problems in the group. Position taken.” GUYS, HE’S NOT KIDDING.

But don’t get attached to any of those fellows. This is Baby’s movie. He’s being coerced into this life of crime, but that doesn’t mean he isn’t good at it. He is, however, trying to get out, and nothing is as inspiring as the love of a good woman. So when Deborah (Lily James) soft shoes into his life, he’s got a boner for the open road. But wait – you didn’t think getting out would be that easy, did you?

This is a film by Edgar Wright, whom I love, unreservedly. This is a very different sort of film from him, but he’s already thrust himself to the top of the game. When you catch your breath at the end of the film, you’ll have to answer me truly: have you ever seen action to equal it? Ansel Elgort’s character Baby is obsessed with two things: music, and cars. And so is the film; car chases and music both turned WAY up to 11. Anything that gets between them is incidental.

MV5BMTEyMzQxMTI0ODZeQTJeQWpwZ15BbWU4MDQ2MDQ1OTAy._V1_Wright is a phenomenal writer, and Baby Driver is just as quippy and quotable as any other in his oeuvre. The music jangles, sometimes wildly incongruous to what’s developing on screen, sometimes deliciously ironic, but it stitches the film together between Wright’s explosive action sequences. Wright’s films are always kinetic. His own exuberance for film making comes across on the screen, is barely contained by it, in fact.

If Ryan Gosling from La La Land fucked Ryan Gosling from Drive, Baby Driver is what you’d get. On paper, this isn’t the kind of movie I normally care about, or for, but on the screen it sang to me, I fuck-yeahed in the dark of the theatre, and I can’t wait until August when I can see it again. [LUCKY US, THE RELEASE GOT MOVED UP TO JUNE 28 DUE TO THE WELL-DESERVED ACCLAIM THIS GOT AT SXSW!]

 

 

 

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Incidentally, I have a mini poster signed by Edgar Wright himself. If you’re interested in winning it, Follow us on Twitter (@AssholeMovies), and retweet the relevant post. Comments here are worth extra entries. Good luck! [THIS IS LONG GONE (CONGRATS TO THE WINNER) BUT FEEL FREE TO RETWEET ALL OUR POSTS OUT OF THE GOODNESS OF YOUR HEART.]

 

 

Also: super DUPER bonus: check out the comments section for ROBERT RODRIGUEZ doing a Q&A with Edgar Wright and stars Eiza Gonzalez, Ansel Elgort & Jon Hamm.

The Life of David Gale

David Gale (Kevin Spacey) is an anti-death-penalty activist and professor in Texas (in Austin, Texas, actually, which happens to be where we’re headed this week for SXSW, but that’s just a weird coincidence). He’s quite politically active until he winds up on death row himself, accused and convicted of the murder of another activist (Laura Linney), and sentenced to capital punishment.

The_Life_of_David_Gale,_2003Journalist Bitsey Bloom (Kate Winslet) is brought in to do one last interview with him before he’s put to death, but what he tells her isn’t a straight forward of guilt or innocence, but rather challenges her notions of justice and the legal system. But can she trust what she’s being told, or is David Gale just a smarter-than-average killer?

The thing about this movie…[this is me trying to decide whether I’m going to be polite about it]…is it’s not very good. I mean, it’s trying to be mysterious with a message. But if you can imagine that the message is a big salami, then imagine getting hit in the teeth with this salami, well, that’s The Life of David Gale.

Obviously it’s not for capital punishment. Or is that obvious? Or even true? Because I think tumblr_nijqy0nx9o1t0t91ao7_1280unintentionally, somewhere in the convoluted mess, it might actually manage to do the complete opposite. The Life of David Gale certainly traps some very worthy actors in a mess they can’t act their way out of. Kate Winslet is pretty Winsletty, although she does a fair bit of running just to show how urgent, how life-and-deathy this whole thing is, but Spacey: man. That guy did not get the good end of the salami here. He’s particularly bad acting opposite the kid playing his young son. It’s just uncomfortable to watch.

The film, Alan Parker’s last, wants to be thought-provoking but leaves neither room nor nuance for any thought at all. Although it lures you in with the promise of high concept, it’s more manipulative and frankly, more mundane than you’ll think possible. It ends up feeling fairly generic despite a stellar cast with 13 Oscar nominations between them. In the end, I was just hoping they’d be put out of their misery, which is probably the last message an anti-death-penalty movie wants to send. Then again, nothing about The Life of David Gale suggests that anyone put even that much thought into it.

Nine Lives

How bad was it?

There was never any question of it being good. You knew it, I knew it. We went because it’s the last drive-in weekend of the season, and this is what was playing (double-billed with The Mechanic, and I bet you can’t wait to find out which was worse). We also brought some pizza and 4 dogs. In my little Beetle.

690Fudgie the 6 pound Yorkie growled every time the cat came on the screen. And the can comes on screen a lot. You know why? Because it’s Kevin Spacey. And I don’t just mean voiced by him, I mean the movie does a Freaky Friday switcheroo where Kevin Spacey’s human character somehow gets transposed into the body of a cat (while the real him is in a coma).

The movie looks as bad as it sounds, the production values shouting Disney channel, and made for TV. Jennifer Garner plays the put-upon wife but the poor thing can almost never get anyone to take her seriously as an actress so she’s used to this kind of mistreatment. She may not even realize she’s in a bad movie. This probably isn’t even the worse thing she’s in this year. And Christopher Walken is just feeling lucky to still be invited. To keep things simple they’ve had him reprise his role from Click. He’s the guy who makes you reevaluate your life by trapping you into a very unhappy scenario. He’s basically the modern day Ghost of Christmas Past. Kevin Spacey, however, is an Oscar winner. What’s his excuse?

In this movie, he plays a gross caricature of a businessman. He’s an egotistical, money hungry 960absentee father with zero nuance or dimensionality. When he gets turned into a cat you feel he got off lightly. And then he does every “help I’m a man trapped in a cat’s body” joke my 5 year old nephew could have come up with given some light prompting and a box of crayons. It’s horrible. It’s beyond horrible. Even the effects animating the cat are horrible, and mistakes are visibly noticeable. Cringe.

So, to recap, a short history of Kevin Spacey’s career:

1995: The Usual Suspects, a career high

1999: American Beauty, wins him another Oscar, this time lead

(long, hard fall, involving lows such as K-PAX, Fred Claus, and Horrible Bosses)

2016: Nine Lives, utter bottom

Why? Why has this happened, Kevin?

a) He owes someone at the production company serious money.

b) He mistakenly thought the script was ironic and\or symbolic.

c) He got paid a lot of money for probably like 10 days worth of work, and that subsidizes his true love, working in the theatah.

Nine Lives is bad. As bad as they say, and worse. But it has at least one fan: about 3 cars over from us, with its windows rolled way down, a little boy was laughing his guts out.

Tribeca: Elvis & Nixon

True Story: in December 1970, Elvis’s dad and his wife, Priscilla, were mad that he’d spent $100K on guns and Mercedes-Benzes for Christmas gifts, so he threw a fit worthy of a teenage girl, stormed out, and caught the next plane going anywhere. Anywhere turned out to be Washington. Elvis had a large collection of police badges, but his Moby Dick, the Indelible-Nixon-Elvis-631.jpg__800x600_q85_cropone he coveted the most but could never land was a badge from the Bureau of Narcotics and Dangerous Drugs (he believed having one would mean he could travel to any country with drugs and guns). Unable to convince the bureau, Elvis being Elvis went over their heads and straight to the top – to President Nixon. He showed up at the White House in a purple velvet suit with a huge gold belt buckle and his trademark gold sunglasses, and a white-house-warming gift—a Colt .45 pistol mounted in a display case, which was of course confiscated at the gate. Elvis got his badge though, and asked that the meeting be kept secret. But once he died, the Archives made a fortune selling the official photo, the most-requested Archive photo in the history of the world.

It’s a pretty fucking crazy story, so of course someone had the bright idea to turn it into a movie.  Joey Sagal, Hanala Sagal, and Cary Elwes share writing credits – yes, that Cary Elwes, who thought he might direct the thing, with Eric Bana as Elvis. That version fell elvis-nixon-michael-shannon-kevin-spaceyapart but Michael Shannon was soon onboard, maybe not the most obvious choice to play The King, but he waved his magic wand of executive productionship, and convinced Liza Johnson who’d previously directed him in Return to helm the whole damn thing. With Shannon filling the King’s rhinestoned shoes, it just made sense that Kevin Spacey would slide into the President’s shiny loafers.

Although there’s no official transcript of what happened inside the Oval Office, Johnson somehow captures the moment perfectly, both in tone and within the context of the times. It’s a trifle of a film, its only point to get these two towering and seemingly opposite figures in the room together. But with powerhouses like Spacey and Shannon, that’s more than enough. I took a lot of pleasure from the lack of prosthetics or makeup tricks on hand – neither of these men particularly look like the figures they are playing, and neither lower themselves to impressions. The script even pokes fun at how much taller Shannon is than Elvis. The script is generally pretty breezy, a little satirical, and heaps of fun. The director is quick to point out there aren’t any real jokes in the film, but the absurdist tone earns consistent laughs from the audience.

Let’s be real: Michael Shannon and Kevin Spacey are legitimately among the most talented working actors today. The film is worth if for their two names above the marquee. The fact that this offers up a bizarre little footnote in American history is just a bonus, and Elvis and Nixon – who is more fascinating or notorious than these two? Spacey and Shannon clearly delight in tackling these roles, and it’s beyond satisfying to watch them engage in a real battle of egos. Within the confines of the Oval Office, Shannon as Elvis has never been a more physical presence on screen, his every movement keeping the president on his toes but always one step behind. Shannon dominates the screen and keeps Nixon chasing after Elvis, and it’s a marvel to watch.

During the Q&A after the screening, director Liza Johnson said she was drawn to the Elvis-Nixon-Movie-Trailer-Billboard-650“tonally eccentric” script and wanted the film to match and “embrace the absurdism of the situation. Michael Shannon, describing Elvis as “mysterious”, relied on interviews with Elvis from right around that time to inform his performance, but the film also benefited from Elvis’s good friend  (played by Alex Pettyfer in the movie) Jerry Schilling and a White House staffer (portrayed in the movie by Colin Hanks) Egil Krogh to give invaluable insight. Johnson said that “Any day working with Michael Shannon is better than a day not working with Michael Shannon” and that Spacey was a natural fit being an equal in acting, and having previously worked  on a Nixon portrayal when he screen-tested for Frost\Nixon.

Bottom line: I enjoyed this very much. There was real spirit, it was a cracking good time, and I found myself making those little smirky-snorty noises, those  half laughs that you make unintentionally when you just can’t believe when you’re seeing. It’s unbelievable, but you’d better believe it.

 

 

Elvis & Nixon will be out in theatres this Friday, April 22nd – 22 years to the day of Nixon’s death.

Just off the Top of O-Ren Ishii’s Head: 10 Death Scenes I Will Never Forget

I’m not really a Final Destination kind of guy but with stock dwindling at my favourite video store just two weeks before it closes, I settled on a movie that my friend had been trying to get me to watch for months. Final Destination 2- so far left on the shelves by eager shoppers looking to take advantage of the store’s Everything Must Go policy- has a death scene that apparently I just had to watch.

Watching the movie, I couldn’t be sure which scene she meant. There were a lot. Could it be the lottery winner who slipped on some spaghetti and got his head smashed in by a falling fire escape? Or the grieving mother who was decaptiated when she got her head caught in an elevator door? Turns out I should have been watching for the teenager who was crushed to death by something- what exactly I can’t be sure, things happen fast in this movie- while chasing away some pigeons. Apparently, if you watch closely, he explodes long before anything falls on him. How does she know? She’s watched it in slow motion. Several times.

final destination

While I may not have even been temptedc to check the tape on that one, it got me thinking of my favourite on-screen passings. After all, we just saw some real beauts in Mad Max: Fury Road on Friday. Here’s my attempt at a Top Ten. I left out a lot out, I know. How about you? What are some of your favourite scenes that I might have missed?

10. Count Laszlo de Almásy  The English Patient (1996)

English Patient

One of the movies that I am most likely to meditate on the finality of death after watching. Once we’re gone, everything we’ve felt, everything we’ve feared, everything we’ve loved die with us. It’s painful to watch Ralph Fiennes suffer from his burns throughout the movie and when Juliette Binoche’s Hana agrees to help him end his agony once and for all, I could almost feel his last breath. Even though, technically, the scene ends before Laszlo does. Before this act of mercy, Hana reads him this.

“We die rich with lovers and tribes, tastes we have swallowed, bodies we have entered and swum up like rivers, fears we’ve hidden in like this wretched cave. I want all this marked on my body. We’re the real counttries. Not the boundaries drawn on maps, the names of powerful men”.

9. Phil Groundhog Day (1993)

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Condemned to live a bad day over and over until he gets it right, Phil (Bill Murray) uses this opportunity to try new things without having to wake up with any consequences. He makes a move on the girl he likes and punches the guy he doesn’t. He runs around town playing hero. He even gives dying a try. His suicidal phase is one of the funniest and darkest parts of the movie. (I haven’t seen the movie in awhile so I can’t remember if it’s made clear to us whether Phil is counting on waking up the next morning or hoping not to).

Before my favourite of said suicide “attempts”, Phil calmly walks into the lobby ignoring the pleasantries of the hotel staff and steals their toaster. Phil calmly prepares himself a nice hot bath and takes the toaster in with him. This scene would also make my list of Top Ten Reasons I Love Bill Murray.

8. Captain Frye The Rock (1996)

the rock

Ed Harris’ General Hummell is a madman but he really does think he’s doing the right thing. It’s the mercenaries he brings with him to sieze Alcatraz Island that make me nervous, especially Captain Frye. Played with his usual sneer by character actor Gregory Sporleder, there’s just something not quite right about this guy. He always seems to be wishing he was pushing an old lady down a flight of stairs.

A lot of these guys die for their cause in spectacular fashion but director Michael Bay saves the best for last when chemistry geek/action hero Stanley Goodspeed (Nicolas Cage) shoves a vial of sarin gas in his mouth and smashes it with his fist. Neither Bay or Cage have gotten much right since but they did good here. This guy had it coming.

7. Sydney Barringer Magnolia (1999)

Magnolia

P. T. Anderson gets our attention right from the start and manages to hold it for Magnolia’s entire three-hour running time. Seventeen year-old Sydney Barringer jumps from the roof of his nine-story apartment building only to have his suicide attempt interrupted both by a safety net installed by some window washers and by a shotgun blast from a sixth floor window that killed him instantly. His unsuccessful suicide became a successful homicide when his own mother accidentally fired a shot while threatening his father during a heated argument.

Anderson didn’t come up with this story on his own. It’s an adaptation of a sort of urban legend that had been circulating for years but it sets up the strange events that follow perfectly.

6. Guy in elevator Drive (2011)

Drive

Ryan Gosling is a charmer. He swept Rachel McAdams off her feet both on and off screen and even taught Steve Carrell how to be a smooth talker. Just don’t get on his bad side. This guy’s not fucking around. He understands the golden rule of action movies. When someone’s giving you trouble, sometimes you’ve just got to stomp on their face until they’re dead. He doesn’t carry a gun much in Drive but why would he? He’s got his boot.

5. Edward Bloom Big Fish (2003)

Big Fish

The deathbed scene in The English Patient inspires me to meditate on death. Big Fish inspires me to reflect on life. Will Bloom (Billy Crudup) finally understands the value of myth and the key to good storytelling while seeing his father (Albert Finney) through his final moments. For most of his adult life, Will stubbornly told stories with “all of the facts, none of the flavour” but, when his father asks him to tell him “how he goes”, Will ad-libs a fantastical story fit for Ed’s remarkable life- one that undoubtedly touched so many others, even if the details are a little embellished. I still get chills when I watch it.

4. Cecilia Shepard Zodiac (2007)

zodiac

I feel crass talking about an on-screen depiction of something that actually happened in the same post as the twisted thrills of Drive but there aren’t many scenes in 21st century American film that are more effective. All the recreations of the Zodiac killings in this movie are almost impossible to watch without some temptation to look away but this one at the beach is the most chilling. I felt a wave of anxiety every time I found myself anywhere secluded for weeks after watching this movie. The Zodiac killer was never caught or named but this faceless killer- now probably long gone- still haunts me.

3. Elle Driver Kill Bill: Vol. 2 (2004)

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I only allowed myself one Quentin Tarantino entry on this post and I could have easily done one just on the Top Ten Tarantino Death Scenes. He’s the guy that knows how to do it, whose mind seems to take him to to places most of us wouldn’t dare. Daryl Hannah’s Elle puts up quite a fight against the Bride but the fight’s pretty much over when Uma Thurman’s antihero plucks out her only good eye. Adding insult to injury beyond anything I can imagine, poor Elle hears a sound that can only be Uma crushing it beneath her feet. Good and pissed but with nothing much she can do about it, Elle thrashes about unitl a poisonous Black Mamba finishes her off.

Elle Driver was an assassin and a bit of a sadist but I can’t help but feel just a little bad. What a way to go.

2. Spider Goodfellas (1990)

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Everyone has a favourite scene here and I could have probably done a Top Ten just on this one movie but Spider (Michael Imperioli) really gets a raw deal. After finally being able to get back to work after being shot in the foot by Tommy DeVito (Joe Pesci), the poor waiter finally stands up for himself and tells Tommy to fuck off. Tommy’s gangster buddy love it and tease Tommy until he loses it and empties his clip into the poor guy, shocking his buddies. “What the fuck, Tommy?goodfellas We were just kidding around”.

Tommy’s a funny guy (yes, sort of like a clown) and I sure did miss him after he gets whacked. But he really was a mad dog. It’s probably for the best that he never got made.

1. Lester Burnham American Beauty (1999)

american beauty

This also made my list of Movie Moments That Took My Breath Away. Lester makes it very clear from the start that he won’t survive the movie and the final moments are filled with tension as we wait for something to happen. Writer Alan Ball presents us with three suspects and we’re not sure until after the killing shot is fired who murdered Lester Burnham.

The murder is beside the point anyway. The tragedy is that Lester dies in pretty much the instant that he finds inner peace. His life flashes before his eyes as he reflects on all the beauty  in the world. “You have no idea what I’m talking about, I’m sure. But don’t worry. You will someday”.

Workplace Movies

TMPThursday Movie Picks, sponsored as ever by Wandering Through the Shelves, is brought to us this week by the letter W – for movies set in the workplace.

Matt

Office gossip can be addictive. Most people wind up spending most of their time talking about work when they spend time with their colleagues outside the office. Actually, three of the Assholes work in the same place and- when we’re not arguing about movies we’re often reminiscing (or ranting) about work. Even people who claim to hate their job tend to find the comedy and drama of any workday pretty interesting. All you need to do is capture that environment in a relatable way and you’ve got a pretty good movie.

The ApartmentThe Apartment (1960)- This has been one of my most significant Blind Spots until this week and it was worth the wait. Jack Lemmon plays an accountant at a big firm who’s just trying to get noticed. Once his superiors find out that he has a modest but nice apartment conveniently located on the Upper West Side, he becomes their go-to guy as they start borrowing his key so they can discreetly cheat on their wives. Director Billy Wilder has a lot to say about the compromises people make in the name of ambition and manages to make a movie that is still funny after all these years while he’s saying it. Lemmon and Shirley MacLaine are as charming as can be too.

Office Space (1999)- Turning an animated short into a live action feature-length film could have Office Spacebeen a disaster but Beavis and Butt-head creator Mike Judge turned any old boring day into the office into one of the funniest comedies of the 90s. Re-watching it this week, I laughed loudest when Gary Cole’s Bill Lumbergh- in an effort to pacify the troops- announces that Friday will be Hawaiian Shirt Day. Around our office, they charge us two dollars to wear jeans on Friday. I couldn’t help feeling bad for poor old Milton though.

MargMargin Callin Call (2011)- Yet another movie that I’m thankful to Wanderer for giving me an excuse to finally check out this week. Zachary Quinto, Stanley Tucci, Jeremy Irons, and Kevin Spacey (making my list two weeks in a row) play investment bankers who see the writing on the wall leading up to the 2008 Financial crisis and sit around wondering what to do about it. Director J. C. Chandor (A Most Violent Year) knows how to set the mood and the performances are all stellar.

Jay

Up In The Air – Poor Ryan Bingham is so afraid of real life that he’s made sure his job keeps him in constant motion. His office may be at a cruising altitude of 32 000 feet but he spends a lot of George-Clooney-Whattime visiting other people’s workplaces to tell them they’re no longer employed. This is such a tough job that cash-strapped businesses are still willing to pay big bucks during a recession for him to do it in their place. He sees offices at their very worst, smells the fear and senses the instability, and is the receptacle for sometimes 20 years’ worth of pain and frustration. Our identities can be so wrapped up in our work, and in many ways, Ryan (George Clooney) is the prime example of this. Director Jason Reitman bravely tackles those creeping workplace notions of downsizing and obsolescence and asks some tough questions of the aging American workforce.

The Social Network – I love how you see the growth of the company here, the “offices” originally facebookin a Harvard dorm room, and then graduating quite quickly to the impressive work space that was eventually needed. The movie recounts a very modern invention (hello, Facebook) but its workplace themes are as old as the first profession – loyalty, jealousy, theft, power, the complicated ownership of ideas. Whether friends or enemies, friended or unfriended, colleagues or competition, this project is always work, and everybody wants to get paid.

Brokeback Mountain – The classic office romance. They meet by the photocopier, lock eyes over the  on, thwater cooler, exchange business cards in the elevator…or, you know, not. Don’t you wish your office looked like this? The scenery is breathtaking but mabrokebackke no mistake: these two cowboys meet at work, doing a job that’s not altogether welcoming to “their kind.” When their boss gets an inkling of what’s going on, the work dries up and the two spend the rest of their lives stealing secret moments and steeling themselves with memories of the best job they ever had. monsters

Bonus pick: Monsters, Inc. Sully and Mike are about as close as two colleagues can be. Mike is the more ambitious of the two, but it’s Sully’s talent and skill that make them so successful. The workplace is originally competitive, and tinged with the fear of contamination (they do bio-hazardous work with children). It may be a cartoon about fuzzy monsters, but any joke about paperwork in triplicate is likely to land huge with adult audiences.

Sean:

Since Matt took Office Space and Jay took Up in the Air, I am sticking to familiar territory and making my section an all-lawyer-movie workplace bonanza!

Philadelphia – a great movie about a lawyer getting kicked out of his workplace, and then going to his other workplace, the court, to try to make things right.  Tom Hanks and Denzel Washington absolutely own this movie.  I actually did not see this until last year and I should have seen it way sooner, because it’s excellent.

A Few Good Men – I saw this in theatres, I owned it on VHS, I own it on DVD, and one of my roommates in university recited the “You can’t handle the truth!” speech every time he had more than three drinks.  And I could watch it again tomorrow.  There are so many good lines and so many good characters in here that it remains enjoyable to this day.   And again there are a few workplaces in here, namely the courts and the Guantanamo Bay Naval Base.

The Firm – Tom Cruise is probably the best lawyer ever, at least if you go by his on-screen performances.  He almost got Dawson and Downey freed and in the Firm he somehow outmaneuvers a whole team of crooked lawyers and the mob while still adhering to his strict ethical code.  Plus he does a lot of really fast running in the Firm which is always the best part of any Tom Cruise performance.  This movie feels really long, because it is, but it’s still a good watch.

Anyone had an office love? Office hook up? Office BFFs?

Father-Daughter Movies

TMPFathers and daughters, a topic rife with the opportunity for Hallmark sap, hard to get right, but so rewarding when it strikes just the right chord. Thanks to Wandering Through the Shelves for hosting another great Thursday Movie Picks theme, from two guys who are neither fathers nor daughters, and one fatherless daughter…because who better to judge?

 

Sean:

lethalweaponLethal Weapon – awarded to the whole series as a body of work. These movies are up-and-down but they are fun stupid films that keep adding more and more extraneous characters as sequelitis sets in. Luckily for me this week, Murtagh has a daughter that factors into the secondary drama of almost every movie, from possible love interest for Riggs in the first one, condom ad star in one of the middle ones, and baby mama to Chris Rock in the last one! And possibly more that I have forgotten. So on the list they all go just to be safe.

Taken – Liam Neeson’s tough old guy shtick started right here as far as I can tell, as the tough old dad of a coed “taken” by European gangsters. And like Liam says in the most awesome phone call ever made to a kidnapper, he uses his skills to track down all involved and kill them good. Spoiler alert: it seems that except for saving his daughter’s life he really hasn’t been a good father, but luckily there are sequels where as far as I know he saves her again, or saves his wife, or something. As usual, they should have stopped after the first one but instead really ran this concept into the ground and made me not care at all anymore.

Star Wars – so we don’t actually know at this point that Leia is Darth Vader’s daughter, and I’m pretty sure George Lucas did not have that plan or even the idea at any point when making this movie. As far as I can remember, though, this movie is the only one of the original 3 films in which this father and daughter “team” share a few scenes, so that’s why it makes the list over Return of the Jedi (where Leia actually learns who’s her daddy). Plus it’s such a classic movie! Even the terrible prequels couldn’t ruin it for me. So it makes the list. Can you tell I struggled this week?

Matt

Guess Who’s Coming To Dinner- Back in December, I wrote a post describing Guess Who’s Coming to Dinner as Matt Drayton (Spencer Tracey)’s conflict with his own values. He raised his daughter (Katharine Houghton) right- no race is superior to another and anyone who thought they were was foolish and ignorant. Matt realizes he may have done a little too good a job when she brings home a charming black doctor played by the great Sidney Poitier whom she wants to marry. While this unexpected situatGuess who's Coming to Dinnerion may expose some hidden bigotry on Matt’s part, mostly he can’t help but admire his new son-in-law to be and mostly objects to the union because of the unimaginable challenges his daughter will surely be facing. Although he’d hate to look into those eyes and see an ounce of pain, he eventually learns to let go and trust his daughter to be strong enough to face the world. The movie can’t help but show its age a little nearly fifty years later but not in the ways that count.

American Beauty- Lester and Jane Burnham (Kevin Spacey and Thora Birch)  aren’t as close as they used to be. In fact, she asks her boyfriend to kill her father in the first scene. Lester’s a little too busy with his middle-aged angst and Jane with her adolescent angst for the two to really connect and Lester only starts taking interest in her life when he develops an obsessive crush on her best friend. He may not deserve a World’s Best Dad mug but I love that his dying thoughts are of her and happy that she thinks she’s in love. Tragically, his last words to her are “You’d better watch yourself or you’re going to become a real bitch just like your mother”.

Kick-Ass- I have serious reservations about Big Daddy (Nicolas Cage)’s parenting style but, unlike Lester, at least he never forgets to tell his daughter (Chloe Moretz) that he loves her. It helps to have common interests. In this case, taking down the D’Amico family and enjoy the sweet taste of bloody revenge with their hot chocolate. Big DKick-Assaddy has turned Hit Girl into one foul-mouthed ass-kicking 11 year-old who knows how to take a shot to the chest.  Marcus may feel that Big Daddy owed his father a childhood but at least he died leaving his daughter the two most important things: the ability to take care of herself and the knowledge that her Daddy loves her.

Jay

The Descendants – This movie is so emotionally loaded and frought, it shreds me to pieces to watch it. Matt’s wife has just been fatally injured in a boat accident. She’s in a coma, waiting to die, while Matt runs around picking up all the pieces. Two really big pieces are his darling daughters who Matt bewilderingly tries to care for though he identifies only as the “back-up parent, the understudy”. The older daughter initially seems to be pretty hostile toward her father, but we soon see she’s really just covering for a secret she’s keeping from him. Turns out coma wife has been unfaithful. So Matt’s already confused and complicated relationships with his daughters become even more so, leaning on the elder for support and understanding, while trying desperately to shield the younger from the ugly truth about her mother as they all struggle to say goodbye amid the complications of anger and blame. Meanwhile, there’s another father-daughter relationship at play: that of coma wife, and her own dear dad, who copes with grief by putting his daughter on a pedestal and lashing out at all others, blaming not just Matt, but his own granddaughters, for his daughter’s not-quite-perfect life. It’s frustrating for we, the viewers, who know that his daughter is far from blameless, and even more difficult for Matt and the oldest daughter who manage to keep the truth to themselves in a show of compassion, allowing him to kiss his little girl goodbye with only the tenderest of feelings.

Crash – You may remember there are a kajillion intersecting plot lines in this movie, most involving some kind of racial prejudice, but I’ll always be thankful to this movie for introducing me to Michael Pena. He plays Daniel, a locksmith who gets cut absolutely no slack by any of his customers because he’s Hispanic, and this makes the white folk (like Sandra Bullock) jumpy. Even the Persian shop owner gives him hell, misunderstanding a bit about a broken door that needs to be replaced, assuming that the locksmith is trying to screw him over. After a hard day’s work, he goes home to a rough neighbourhood where his crazy-cute daughter is hiding under her bed, frightened by the gunfire overheard. He soothes her with a story about an invisible, impenetrable cloak that will keep her safe. When the Persian shop is re-vandalized, the owner gets himself a gun and blames the guy on the work order. He shows up at Daniel’s house and opens fire – just as the little girl jumps into her father’s arms. For a very long moment we – and they – fear that the girl has been shot, but actually, she has saved the day with her heroic magic cape. Okay, not actually true. The real saving grace? Another daughter – the Persian’s – who protected her father the only way she knew how – by loading his gun with blanks.

Beasts of the Southern Wild – Not a straight forward relationship by any means, it’s still clear that father Wink and daughter Hushpuppy have a relationship central to this story. His treatment of her sometimes seems neglectful, even brutal, but is actually pretty typical within the context of their fictional community where children are encouraged to roam free among the livestock and wildlife. In fact, her father’s occasional disappearances seem to be related to his ill-health more than his disinterest. His ways are rough, but he’s really just preparing her for a time when he’s no longer around, and she seeks his approval by being strong and independant – at the tender age of 6. When the big storm comes, he’s there, with a pair of water wings and a shotgun that he fires at the clouds, trying to chase them away and make his daughter feel better. When Wink’s time is almost up, he tries to find her a safe place to go, but she insists on returning to his side, witnessing his remaining heartbeats.

My father-daughter picks IN OUTER SPACE can be found here.