NOPE: an exceptionally intelligent popcorn movie

Daniel Kaluuya in NOPE. Courtesy of Universal Pictures.

Jordan Peele’s Nope is an exceptionally intelligent popcorn movie. I’m not a big horror/sci fi guy, and I loved it.

Siblings OJ and Emerald own their dad’s legacy ranch in a desolate SoCal valley (Nope was shot near Santa Clarita). Surreal, unexplained events take place, and they wonder if the happenings are supernatural or extraterrestrial (as in space aliens)?

At first, there are strange noises. Then sinister things happen with ordinary objects – a house key, a Jefferson head nickel and, eventually, a blue tarp. Finally, OJ connects the dots about a cloud in the sky and…we’re off on a thrill ride.

This is not an agricultural ranch – it houses horses that are trained for production of movies and video commercials. OJ is continuing his dad’s role as a professional movie horse trainer and wrangler.

OJ (Daniel Kaluuya) is a man of few words – very few words. He’s all business, and prefers horses to people. Uncomfortable with the Hollywood schmooze and hustle, he wonders why being a horse whisperer doesn’t seem to be enough to keep the business alive.

OTOH, his sister Emerald (a very funny Keke Palmer) is all about self-promotion, and sees her future success coming from showbiz or the internet, not from isolated, dusty horse corrals. She is bubbly, self-absorbed and has no boundaries.

On the other side of the valley, there’s another ranch, owned by a former child television star Ricky “Jupe” Park (Steven Yuen), who runs a hokey, retro Old West theme park. (The cheesy, family theme park reminded me of San Jose’s Frontier Village in my youth.) In Jupe ‘s back story, there’s an incident from his childhood TV work that fits with one of Nope’s themes – the dangers of messing with natural phenomena.

Why would space aliens come to our planet – to explore, conquer, inhabit our bodies, study us or destroy us”? From 1951’s The Day the Earth Stood Still and 1953’s War of the Worlds, movies have posed the question, should we fight off the aliens or try to make friends? In a brilliantly pointed observation of our culture in 2022, Jordan Peele knows that many would ask – how can we monetize this?

Brandon Perea, Daniel Kaluuya and Keke Palmer in NOPE. Courtesy of Universal Pictures.

OJ and Emerald need high tech assistance, and they happen upon a Gen X geek working in a particularly reviled electronics store. Angel (a perfect Brandon Perea) greets them with a despairingly weary Thanks for shopping at Fry’s and invites himself along on their quest.

Nope begins with a WOW segment and ends with a Western-movie-meets-sci-fi horseback escape. Along the way, it explores the transformation of our economy and culture.

Daniel Kaluuya is a charismatic enough presence that he can, like Gary Cooper or Clint Eastwood, carry a feature film without saying much. Keke Palmer and Brandon Perea are very funny in essential roles. Yuen’s performance may be the most nuanced, with an insincere Hollywood slickness masking his feelings about a childhood trauma and a failing business. Michael Wincott is excellent as an old school cinematographer whose gravelly voice makes Sam Elliott sound like a soprano.

The title is from a hilariously appropriate mutterance of OJ’s. The obvious title Don’t Look Up was employed by Adam McKay just last year.

Here’s a hopeful thought. Will Jordan Peele bring young moviegoers to theaters for horror thrills and teach them to expect SMART movies?

Nope is now widely available to stream (and should be watched on the biggest screen available to you). It’s one of the Best Movies of 2022 – So Far.

Movies to See Right Now

Photo caption: Laura Galán in PIGGY. Courtesy of Magnolia Pictures.

This week on The Movie Gourmet – the fresh and darkly hilarious Spanish horror movie Piggy and the TV premiere of a highly entertaining classic film noir (scroll down). Plus, an overdue review of the summer espionage thriller The Gray Man.

CURRENT MOVIES

WATCH AT HOME

Brit Marling in THE EAST. Courtesy of Fox Searchlight Pictures.

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

  • The East: how do we punish corporate crime? HBO, Amazon, AppleTV, redbox.
  • The Outfit: no one is just what they seem to be. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Colma: The Musical: a refreshing hoot. Amazon, Vudu, YouTube.
  • The Worst Person in the World: funny, poignant, original and profoundly authentic. Amazon, Apple, Vudu, YouTube, redbox.
  • Heartworn Highways: like desperados waitin’ for a train. AppleTV, Vudu, YouTube, Showtime.
  • Dreaming Walls: Inside the Chelsea Hotel: the artsy and the quirky. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Everything Everywhere All at Once: often indecipherable and mostly dazzling. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Jockey: he finally grapples with himself. Amazon, AppleTV, Vudu, YouTube.
  • The Visitor: self-isolation no longer. Amazon, AppleTV, Vudu, YouTube.
  • The Bra: Just your average silent Azerbaijani comedy. Amazon, AppleTV, Vudu, YouTube.
  • Project Nim: a chimp learns the foibles of humans. Amazon, AppleTV, YouTube.
  • Bombshell: The Hedy Lamar Story: the world’s most beautiful woman and her secrets. Amazon, AppleTV, Vudu, YouTube, KINO Now.
  • The Gatekeepers: winning tactics make for a losing strategy. Amazon, AppleTV, Vudu, YouTube.
  • Auggie: Who do you see when you put on the glasses? Amazon, AppleTV, Vudu, YouTube.

ON TV

Jane Wyatt amd Lee J. Cobb in THE MAN WHO CHEATED HIMSELF

On October 14, Turner Classic Movies airs The Man Who Cheated Himself, in which a cop falls for a dame who makes him go bad. But it’s not just any cop and not just any dame. The cop is Ed (Lee J. Cobb), a seasoned and cynical pro who knows better. The dame is the much wealthier – and married – socialite Lois (Jane Wyatt), a puddle of capriciousness and carnality. There’s plenty of snappy, sarcastic dialogue amid glorious mid-century San Francisco locations.

The Film Noir Foundation has restored The Man Who Cheated Himself so it could be seen again for the first time in decades. Set your DVR.

PIGGY: surprising and darkly hilarious

Photo caption: Laura Galán in PIGGY. Courtesy of Magnolia Pictures.

In the fresh and darkly hilarious Spanish horror movie Piggy, Sara (Laura Galán) is an overweight teenager cruelly teased by her peers. She works in her family’s butcher shop, which supplies her tormentors with a surfeit of unkind pork-related nicknames. Her affectionate but clueless dad and her brusque martinet of a mom aren’t much comfort.

One day, at the town swimming pool, mean girls sadistically traumatize her. Sara makes a shocking decision, and Piggy becomes a kind of Carrie meets Beauty and the Beast thrill ride as Sara is bounced along to the satisfying conclusion.

Piggy is the first feature for writer-director Carlota Pereda, a veteran television director. It’s based on her award-winning 2018 short with the same Spanish title, Cerdita, and also staring Galán. Galán gets all the teen angst and impulsiveness just right and, in a piñata-like role, is a helluva good sport.

Horror films turn on whether the protagonist can survive, and, often, on whether the victims deserve their demise; Pereda has a lot of fun with both.

I screened Piggy for the Nashville Film Festival, where it was one of my Under the Radar picks. Piggy opens this week at the Alamo Drafthouse and then rolls out nationally. This movie is a hoot.

THE GRAY MAN: an action movie highlight show

Ryan Gosling in THE GRAY MAN. Courtesy of Netflix.

Ryan Gosling stars in the kickoff of a Netflix espionage thriller franchise, in The Gray Man. It’s a top rate action film directed by the Russo brothers, Anthony and Joe (Arrested Development, The Avengers and Captain America) .

Gosling plays a highly skilled covert operative with a back story thatreally doesn’t matter – just think of him as a renegade American James Bond.

There are six, count ’em, SIX, amazing action set pieces , at least as good as in any James Bond film. The effect is like watching an all-highlight show like ESPN’s Sportscenter, where every football clip is an amazing TD catch and every baseball clip is a walk-off home run. No need for much dialogue or character development in between, That’s okay – The Gray Man isn’t trying to be more than it is – glossy entertainment.

There’s a reason that Ryan Gosling is a Movie Star in the best sense of the phrase. He has a special charisma before the camera, and we are driven to watch him and to sympathize with him. Of course, he’s a remarkably versatile actor who can be heroic, stolid, sexy, dangerous, funny, lovelorn and even musical. Gosling has brought whatever was needed to excellent cinema like La La Land, Drive, The Ides of March, The Big Short, The Place Beyond the Pines and Crazy, Stupid Love, and even to crap like Gangster Squad, First Man and the execrable Only God Forgives. Gosling is a perfect choice to lead a franchise like The Gray Man, and his acting chops are not challenged here.

Netflix’s bankroll provides the Russos with an impressive cast. Chris Evans is a worthy villain to match up with Gosling, and Ana de Armas is a glamorous sidekick. The great Alfre Woodard, along with Billy Bob Thornton, show up in key roles. There’s a very brief flashback to a rotten father figure, close to a non-speaking part, and the Russos were able to utilize the always memorable Shea Whigham in this tiny part.

The supporting roles of Jessica Henwick (Nymeria Sand in Game of Thrones) and Tamil superstar Dhanush set them up for key roles in future chapters of the Gray Man franchise.

The Gray Man streams on Netflix.

Movies to See Right Now

Photo caption: Louise Fletcher in ONE FLEW OVER THE CUCKOO’S NEST.

This week on The Movie Gourmet – a new review of Don’t Worry, Darling and a note on the Gaslight (below) that you probably have NOT seen. Plus, a remembrance and my top picks at the Nashville Film Festival.

REMEMBRANCE

Actress Louise Fletcher was unforgettable in her Oscar-winning performance as Nurse Rached in One Flew Over the Cuckoo’s Nest.  With her cold assured eyes embodying impervious authority, she could maintain a soft voice and still deflate the charisma of Jack Nicholson’s McMurphy.  Nurse Rached has been voted the second best female villain in all cinema (after The Wicked Witch in The Wizard of Oz).

CURRENT MOVIES

WATCH AT HOME

PROJECT NIM

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

  • Project Nim: a chimp learns the foibles of humans. Amazon, AppleTV, YouTube.
  • The Outfit: no one is just what they seem to be. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Colma: The Musical: a refreshing hoot. Amazon, Vudu, YouTube.
  • The Worst Person in the World: funny, poignant, original and profoundly authentic. Amazon, Apple, Vudu, YouTube, redbox.
  • Heartworn Highways: like desperados waitin’ for a train. AppleTV, Vudu, YouTube, Showtime.
  • Dreaming Walls: Inside the Chelsea Hotel: the artsy and the quirky. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Everything Everywhere All at Once: often indecipherable and mostly dazzling. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Jockey: he finally grapples with himself. Amazon, AppleTV, Vudu, YouTube.
  • The East: how do we punish corporate crime? HBO, Amazon, AppleTV, redbox.
  • The Bra: Just your average silent Azerbaijani comedy. Amazon, AppleTV, Vudu, YouTube.
  • The Visitor: self-isolation no longer. Amazon, AppleTV, Vudu, YouTube.
  • Bombshell: The Hedy Lamar Story: the world’s most beautiful woman and her secrets. Amazon, AppleTV, Vudu, YouTube, KINO Now.
  • The Gatekeepers: winning tactics make for a losing strategy. Amazon, AppleTV, Vudu, YouTube.
  • Auggie: Who do you see when you put on the glasses? Amazon, AppleTV, Vudu, YouTube.

ON TV

Anton Walbrook and Dyana Wyngard in GASLIGHT.

On October 6, Turner Classic Movies will play the less well-known 1940 version of Gaslight. In GASLIGHT, GASLIGHT and gaslighting in domestic violence, I wrote about this film, the more familiar 1944 version and gaslighting itself. This original 1940 version is also especially well-acted. Anton Walbrook is suave and evil as the hubbie and Dyana Wyngard is unforgettably haunting as the wife. Only 19 minutes in, we see his duplicity, manipulation and control. Frank Pettingell is very good as the detective, and the cast includes Robert Newton (Long John Silver in the 1950 Treasure Island). Cathleen Cordell plays the oversexed maid Nancy in a less nuanced performance than Angela Lansbury’s in 1944. This 1940 film version is reportedly the most faithful to the stage play source material.

Under the radar at the Nashville Film Festival

Hannah Lee Thompson in HANNAH HA HA. Courtesy of Nashville Film Festival.

While the Nashville Film Festival has its share of high-profile movies, don’t miss the gems that are screening under the radar. These movies are why we go to film festivals. Here are my top picks.

Indies: HANNAH HA HA

The indie Hannah Ha Ha is an extraordinary film about an ordinary person. Hannah (musician Hannah Lee Thompson in her first film) is content with her life in a small town – helping her dad (he would be lost without her) and giving music lessons. She touches lives, and townfolks eagerly help celebrate to her 26th birthday,  But her brother Paul (Roger Mancusi) points out that she is comfortable with a path that will leave her without a career or, critically, health insurance. Paul wants what is best for Hannah, but every time he talks to her he makes her feel bad about herself, finally shaming her into finding her place in the conventional economy (which is not at the top of the pyramid). Filmed in a cinéma vérité style, Hannah Ha Ha is the first feature written and directed by Joshua Pikovsky and Jordan Tetewsky, and it’s masterfully edited by Tetewsky. Thompson, whose Hannah is smart, witty, capable and utterly ill-suited for life as a corporate pawn., is excellent. We are our choices – but who frames those choices? Hannah Ha Ha is a thought-provoking film that explores the profound question of what makes for human value and fulfillment.

International: PIGGY

Laura Galán in PIGGY. Courtesy of Nashville Film Festival.

In the fresh and darkly hilarious Spanish horror movie Piggy, Sara (Laura Galán) is an overweight teenager cruelly teased by her peers. She works in her family’s butcher shop, which supplies her tormentors with a surfeit of unkind pork-related nicknames. One day, at the town swimming pool, mean girls sadistically traumatize her. Sara makes a shocking decision, and Piggy becomes a kind of Carrie meets Beauty and the Beast. Piggy is the first feature for writer-director Carlota Pereda, a veteran television director. Horror films turn on whether the protagonist can survive, and, often, on whether the victims deserve their demise; Pereda has a lot of fun with both. This is a hoot.

Documentary: RELATIVE

A scene from Tracey Arcabasso Smith’s RELATIVE. Courtesy of Nashville Film Festival.

Relative is filmmaker Tracey Arcabasso Smith’s reflective exploration of intergenerational sexual abuse in her own family.   As Smith lovingly, but insistently, interviews her family members, she uncovers an epidemic of abuse in generation after generation.  Relative becomes ever more powerful as Smith refuses to sensationalize, but stays centered on the strength and humanity of the women on camera.  This is a brilliantly edited film – first person testimonies are inter-cut with the home movies of a lively family – a family we now understand was stained with corrosive secrets.  Finally, Relative (BTW a great title) takes us to how the cycle of abuse can be broken. Relative is the first feature for director Arcabasso Smith.

Piggy screens on Saturday night, Hannah Ha Ha on Sunday, and Relative on Monday. Here’s the trailer for Hannah Ha Ha.

DON’T WORRY, DARLING: misfire (but with Huell Howser’s cool house)

Don't Worry Darling (2022) - IMDb
Photo caption: Florence Pugh and Harry Styles in DON’T WORRY, DARLING. Courtesy of Warner Brothers.

Don’t Worry, Darling is a paranoid thriller that, most unfortunately, stops thrilling halfway through.  We’re in the late 1950s, and Alice (Florence Pugh) is a housewife married to Jack (pop star Harry Styles), an engineer.  They live in a company town, an idyllic, color-saturated suburb improbably planted in the remotest corner of the Mojave Desert.  All the men work on a highly secret R&D project, and no one is to leave the company’s property, “where it’s safe.

Everyone is going full Mad Men with cocktails and cigarettes, Alice and Jack are gloriously oversexed, and Don’t Worry, Darling sports a delightful period soundtrack.  It’s a much better Stepford Wives, only really hedonistic.  So far, so good.  

But Alice sees some things that are disturbing.  Is she hallucinating?  Or has she stumbled upon the company’s evil secret? During this Am I Going Crazy part of the movie, I started to think that this is taking way too long.  And then it got less and less interesting.

Part of the problem is heavy-handedness, with an unnecessarily overt Order vs Chaos message.  Poor Alice even utters the words, “you’re gaslighting me.” In case we don’t get it, I guess.
And there are (I think two) brief scenes with Alice and Jack at their same ages, but set in the present, where they are having a lot less fun.  These bits are confusing and superfluous.
None of this is the fault of Pugh or Styles.  It’s all in the increasingly less gripping and less coherent story.

Don’t Worry, Darling especially disappointed me because director Olivia Wilde and screenwriter Kate Silberman had previously collaborated on the smart and sweet Booksmart.

Olivia Wilde the actress is very good as the pack leader who wrangles the other wives.  Nick Kroll shines as her husband, a good timer who has drunk the Kool-Aid.  I always love seeing Chris Pine, and he’s predictably good here as the corporate leader admired by the other men to a cult-like degree.  Timothy Simons (Veep) is perfect as the company physician/enforcer.

My friend Keith that he was distracted from the story when he recognized the building that stands in for the evil corporation’s secret headquarters.  It turns out that it is a home in Twentynine Palms, California, owned by the late Huell Howser, the relentlessly affable host of California Gold, where each week he would discover another a-MAZ-ing roadside attraction.

All I’ll say about the film’s off-screen controversy is that no one would raise much fuss about a male movie director dating a much  younger female star, which has been going on since the birth of cinema.

Don’t Worry, Darling is in theaters.

Previewing the Nashville Film Festival

LOUIS ARMSTRONG’S BLACK AND BLUES. Courtesy of AppleTV.

The Nashville Film Festival opens on Thursday, September 29 and runs through October 5 with a diverse menu of cinema, available both in-person and on-line. The Nashville Film Festival is the oldest running film festival in the South (this is the 53rd!) and is an Academy Award qualifying festival. The program includes a mix of indies, docs and international cinema, including world and North American premieres.

The Nashville Film Festival embraces its home in Music City and emphasizes films about music (like last year’s Brian Wilson: Long Promised Road and Fanny: The Right to Rock). That’s the case with the films that open and close this year fest:

  • Louis Armstrong’s Black & Blues, and
  • The Return of Tanya Tucker: Featuring Brandi Carlile.

See it here first: those opening and closing films, plus Piggy, Meet Me in the Bathroom, Nanny and Aftersun have all secured distribution and will be available to theater and/or watch-at-home audiences. Before just anybody can watch them, you can get your personal preview at the Nashville Film Festival.

I loved covering the 2021 Nashfilmfest in person, with Poser and The Tale of King Crab as my faves. I’ll be covering remotely this year, but that just leaves more pig-forward delicacies from Peg Leg Porker and Martin’s Bar-B-Que Joint for you.

Check out the program and buy tickets at the festival’s Film Guide. Watch this space for Nashville Film Festival recommendations (both in-person and on-line) and follow me on Twitter for the latest. I’ll be back in a couple days with my recommendations.

THE RETURN OF TANYA TUCKER.: FEATURING BRANDI CARLILE. Courtesy of Nashville Film Festival.

Movies to See Right Now

Photo caption: Jean-Luc Godard

This week on The Movie Gourmet – two remembrances, current recommendations and a discussion of actor Warren William. Coming up – a preview of the Nashville Film Festival.

REMEMBRANCES

Writer-director Jean-Luc Godard, with his jump cuts, non-linear structure and other innovations, helped revolutionize cinema as a leader of the French New Wave. He made three masterpieces in early 1960s: Breathless, Contempt and Band of Outsiders. This is the Godard of “All you need to make a movie is a girl and a gun.

But by 1968, Godard’s thinking has become so devoid of humor, nuance, texture and ambiguity, that his work became one-dimensional and boring.  Indeed, I have found all of the Godard films since 1967’s Weekend to range from disappointing to completely unwatchable.  Godard was still making movies in 2018 – and they all sucked.

Band of Outsiders is not streamable, but Breathless is included with HBO Max and Criterion subscriptions and rentable from Amazon, AppleTV, Vudu and YouTube; Contempt is included with Criterion and rentable from Amazon, AppleTV and YouTube. Or, you can watch the biting send-up of Godard in the recent Godard, Mon Amour on AppleTV, YouTube or KinoNow.

Henry Silva

Actor Henry Silva is recognizable from his 140 screen credits (and, outside of the Oceans 11 movies, those roles may have all been villains). He leveraged his acting talent and unusual facial features to project menace as few actors have done, most memorably in the original The Manchurian Candidate.

CURRENT MOVIES

WATCH AT HOME

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

THE VISITOR
  • The Visitor: self-isolation no longer. Amazon, AppleTV, Vudu, YouTube.
  • The Outfit: no one is just what they seem to be. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Colma: The Musical: a refreshing hoot. Amazon, Vudu, YouTube.
  • The Worst Person in the World: funny, poignant, original and profoundly authentic. Amazon, Apple, Vudu, YouTube, redbox.
  • Heartworn Highways: like desperados waitin’ for a train. AppleTV, Vudu, YouTube, Showtime.
  • Dreaming Walls: Inside the Chelsea Hotel: the artsy and the quirky. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Everything Everywhere All at Once: often indecipherable and mostly dazzling. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Jockey: he finally grapples with himself. Amazon, AppleTV, Vudu, YouTube.
  • The East: how do we punish corporate crime? HBO, Amazon, AppleTV, redbox.
  • The Bra: Just your average silent Azerbaijani comedy. Amazon, AppleTV, Vudu, YouTube.
  • Project Nim: a chimp learns the foibles of humans. Amazon, AppleTV, YouTube.
  • Bombshell: The Hedy Lamar Story: the world’s most beautiful woman and her secrets. Amazon, AppleTV, Vudu, YouTube, KINO Now.
  • The Gatekeepers: winning tactics make for a losing strategy. Amazon, AppleTV, Vudu, YouTube.
  • Auggie: Who do you see when you put on the glasses? Amazon, AppleTV, Vudu, YouTube.

ON TV

Warren William with Loretta Young in EMPLOYEES ENTRANCE

On September 28, Turner Classic Movies airs Employees Entrance, starring Warren William, whose movies from the early 30s remain fresh today. Although he is not well-known today, William was “King of the Pre-Code”, starring in 25 movies between 1931 and 1934, many with the sexual frankness and moral ambiguity that was to be erased by the Production Code. If you want to understand Pre-Code cinema, watch Employees Entrance, and imagine the future movie censor, the supercilious Joe Breen, with his head exploding.

In the 1933 Employees Entrance, William plays a department store manager who is viciously ruthless with his competitors and suppliers.  He abuses his own employees and is indifferent to the resultant suicide attempts.  He uses his position to have sex with a young employee (Loretta Young), even after she marries someone else.  And he keeps a floozy on the payroll to distract another executive (his putative supervisor) from meddling in the business.  And for all 75 minutes of Employees Entrance, William’s joyously despicable character is richly enjoying himself.  If you’re looking for the triumph of Good over Evil, this isn’t your movie.

With his striking features (including a prominent and noble nose) and his deep and cultured voice, William was a natural for the newfangled talkies.  William excelled in the Pre-Code movies because he could play deliciously shameless scoundrels who would use their wit and position to exploit everyone else, especially for sex, power and money.  His characters are fun to watch because they take such delight in their own depravity.  His leading ladies included the likes of Bette Davis, Barbara Stanwyck, Loretta Young, Ann Dvorak and Claudette Colbert. But in 1934, the new Production Code meant that movies could no longer allow his characters to have sex and otherwise behave badly and get away with it.

One of my favorite movies is 1932’s hilarious political comedy The Dark Horse, in which William plays an equally ruthless and amoral campaign manager.  He is such a scoundrel that he must first get sprung from jail to teach his dimwitted candidate to answer every question with “Yes…and, then again, no.”  He describes his own candidate (the gleefully dim Guy Kibbee) thus:  “He’s the dumbest human being I ever saw. Every time he opens his mouth he subtracts from the sum total of human knowledge.” 

Ever the sexually predatory cad on the screen, the real-life William led a quiet life and was married to the same woman for twenty-five years until his death.

Movies to See Right Now

Brandon Perea, Daniel Kaluuya and Keke Palmer in NOPE. Courtesy of Universal Pictures.

This week on The Movie Gourmet – a review of the newly available Loving Highsmith, a revealing biodoc of the novelist whose novels were turned into twisted movie thrillers that include Hitchcock’s Strangers on a Train and all the Tom Ripley movies, as well as the queer memoir Carol. Plus, Wrapping up Cinequest.

CURRENT MOVIES

WATCH AT HOME

Richard Kind in AUGGIE

The most eclectic watch-at-home recommendations you’ll find ANYWHERE:

  • Auggie: Who do you see when you put on the glasses? Amazon, AppleTV, Vudu, YouTube.
  • The Outfit: no one is just what they seem to be. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Colma: The Musical: a refreshing hoot. Amazon, Vudu, YouTube.
  • The Worst Person in the World: funny, poignant, original and profoundly authentic. Amazon, Apple, Vudu, YouTube, redbox.
  • Heartworn Highways: like desperados waitin’ for a train. AppleTV, Vudu, YouTube, Showtime.
  • Dreaming Walls: Inside the Chelsea Hotel: the artsy and the quirky. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Everything Everywhere All at Once: often indecipherable and mostly dazzling. Amazon, AppleTV, Vudu, YouTube, redbox.
  • Jockey: he finally grapples with himself. Amazon, AppleTV, Vudu, YouTube.
  • The Visitor: self-isolation no longer. Amazon, AppleTV, Vudu, YouTube.
  • The Bra: Just your average silent Azerbaijani comedy. Amazon, AppleTV, Vudu, YouTube.
  • Project Nim: a chimp learns the foibles of humans. Amazon, AppleTV, YouTube.
  • The East: how do we punish corporate crime? HBO, Amazon, AppleTV, redbox.
  • Bombshell: The Hedy Lamar Story: the world’s most beautiful woman and her secrets. Amazon, AppleTV, Vudu, YouTube, KINO Now.
  • The Gatekeepers: winning tactics make for a losing strategy. Amazon, AppleTV, Vudu, YouTube.

ON TV

Jane Greer and Robert Mitchum in THE BIG STEAL.

On September 23, Turner Classic Movies airs one of the most fun films noir, The Big Steal, which rematched Robert Mitchum and Jane Greer after their iconic noir Out of the Past. This time, Mitchum and Greer careen around Mexico, being chased by William Bendix. The Big Steal was only the third of the 36 feature films directed by the grievously underrated Don Siegel. Siegel became a master of crime movies (and was the primary filmmaking mentor to Clint Eastwood). I particularly love Siegel’s 1973 neo-noir Charley Varrick, the guilty pleasure Two Mules for Sister Sara and John Wayne’s goodbye: The Shootist. Anyway, The Big Steal is delightful.